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  • 2010-2014  (2)
  • Musicology  (2)
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  • 2010-2014  (2)
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  • Musicology  (2)
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  • 1
    Online Resource
    Online Resource
    University of California Press ; 2013
    In:  Journal of the American Musicological Society Vol. 66, No. 2 ( 2013-08-01), p. 475-522
    In: Journal of the American Musicological Society, University of California Press, Vol. 66, No. 2 ( 2013-08-01), p. 475-522
    Abstract: From 1931 to 1939, Franz Rietzsch, a German missionary, worked with the Nyakyusa in Tanganyika. He differed from most other missionaries in two respects: first, he was invested in the German Singbewegung, a movement that played a central role in the revival of early-music performance and scholarship; and second, he had a background in comparative musicology, which shared the ideals of the early-music movement by emphasizing authenticity and musical universals. Rietzsch observed that the tonal system of the Wanyakyusa is derived from overtones over one fundamental and set out to write music for the service in what he called “African style.” Yet even though his settings use the pentatonic system of the Nyakyusa, they sound as if they were written in the early fifteenth century. Rietzsch's story sits at the intersection of three seemingly distinct but surprisingly connected worlds in the 1920s and 1930s: that of the founders of comparative musicology; that of interwar Protestant missionaries; and that of the scholars and musicians working on early Euro-pean music. All three searched for the origins of music in an authentic mode and feared that hybrid forms of music (African-European or old music played in too modern a way) would be inauthentic.
    Type of Medium: Online Resource
    ISSN: 0003-0139 , 1547-3848
    RVK:
    Language: English
    Publisher: University of California Press
    Publication Date: 2013
    detail.hit.zdb_id: 2065884-9
    SSG: 9,2
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  • 2
    In: Ethnomusicology, University of Illinois Press, Vol. 58, No. 2 ( 2014-05-01), p. 315-320
    Abstract: Across the humanities and social sciences, a wide range of scholars seek to understand the role that expressive culture in general and music in particular play in the politics of social life. Though it may once have been controversial, the notion that music has meanings or social dynamics that we may call political would not, I think, be a provocative one for scholars in our field today. For example, we now agree that music is a key medium through which identities emerge. In musical practice, agents construct new identities, subjects are interpolated into pre-existing ones, interlocutors negotiate or battle over identities, and all this occurs in ways that can be oppressive or resistant, mundane or extraordinary, residual or emergent. Further, music may serve as one or more form of capital.
    Type of Medium: Online Resource
    ISSN: 0014-1836 , 2156-7417
    RVK:
    Language: English
    Publisher: University of Illinois Press
    Publication Date: 2014
    detail.hit.zdb_id: 2066302-X
    SSG: 9,2
    Library Location Call Number Volume/Issue/Year Availability
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