ISSN 2158-5296
Volume 3, No. 2 (2014)
Between Theory, Representation and Practice of Maqām:
Rethinking the Representation of the Arabic Maqāmāt
Brent Keogh (Macquarie University)
Traditionally, students learning the maqāmātare taught aurally, in the master-student paradigm, where phrase-by-phrase they acquire knowledge of the maqāmāt, which forms the building blocks of taqsīmand composition. While Western forms of notation for the representation of Arabic maqāmāt have increasingly been used to represent these modes... more >>
Changing Performance Styles of Twentieth Century Ashkenazi Cantorial Recitatives
Amit Klein (Hebrew University)
Eastern European chazanut [hazzanut] is a form of art which has developed gradually since the mid-eighteenth century and reached a certain peak in the first half of the twentieth century. Eastern European cantors were brought up in the Orthodox tradition, some of them also in the Chasidic tradition, and their cantorial music stems from these musical legacies... more >>
The Subversive Songs of Bossa Nova: Tom Jobim in the Era of Censorship
Irna Priore (University of North Carolina) and Chris Stover (New School for Jazz and Contemporary Music)
Bossa nova flourished in Brazil at the end of the 1950s. This was a time of rapid development and economic prosperity in the country, following President Jucelino Kubitschek’s 1956 proclamation of “fifty years of progress in five,” but after the 1964 coup d’état, when General Humberto Castello Branco’s military regime took control of Brazil... more >>
On Not Losing Heart: A Response to Savage and Brown’s “Toward a New Comparative Musicology”
David Clarke (Newcastle University)
Toward a New Comparative Musicology: Some Comments on the Paper by Savage and Brown
Victor Grauer
Let It Be Called “Comparative Ethnomusicology”
David Locke (Tufts University)
Call and Response in Ewe Agbadza Songs: One Element in a Network of Musical Factors
David Locke (Tufts University)
Call-and-response has iconic status as a sign of African musical style. The approach to musical form is widespread geographically, frequently used, found in many genres, and employed on most instruments. The form enables collective participation in music-making, which is another oft-noted characteristic of African music. The form's emblematic status in musical discourse entails a risk of under-estimating its sophistication... more >>
Rhythmic Elasticity and Metric Transformation in Tunisian Stambēlī
Richard C. Jankowsky (Tufts University)
This paper examines the rhythmic system of stambeli, a trance healing music developed by displaced sub-Saharans in Tunisia. I propose that stambeli's rhythmic system—most notably its temporal transformation through normative acceleration and its principles of rhythmic elasticity—may contribute empirically and conceptually to our understanding of "African" rhythm and meter... more >>
Fractal Geometries of an African Music
Martin Scherzinger (New York University Steinhardt)
At stake in this presentation is a demonstration of the fractal-like logic undergirding harmonic processes found in the archaic lamellaphone music in the region of Zimbabwe, Zambia, and Mozambique. Fractal geometric shapes are generally attributed to objects found in opthalmic nature (clouds, snow flakes, frost crystals, etc.) and the visual arts (Giacometti's landscapes, Tuareg leatherwork, etc.). In most accounts, therefore, recurrence relations between geometric shapes (on reduced-size, or magnified, scales) are described in relation to points in space; less often do fractal relations pertain to aspects of time... more >>


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