ISSN 2158-5296
Volume 6, No. 1 (2017)
Discovering Flamenco Metric Matrices through a Pulse-Level Analysis
Bernat Jiménez de Cisneros Puig (Independent Researcher)
Recent flamencology has made significant strides in demonstrating the sophisticated and rigorous musical language of flamenco, which is based on its own particular grammar and syntax. However, the analysis of such language, regulated by codes and guidelines that are not usually made explicit, requires an insider’s knowledge... more >>
Experimentations with Timelines in Afro-Bahian Jazz: A Strategy of Rhythm Complication
Juan Diego Diaz (University of Essex)
Timelines are well known temporal organizers in various types of African diasporic groove-based musics. But what happens when they are deliberately cut, rotated, or staggered? This article explores some compositional techniques used by Orkestra Rumpilezz, a big band from Bahia, Brazil, that combines jazz with Afro-Bahian carnival and sacred music and that bases its compositions on traditional and modified timelines... more >>
Volume 5, No. 2 (2017)
Principles of Transmission and Collective Composition in Turkmen Dutar Performance
David Fossum (University of Pittsburgh)
This paper focuses on a repertoire of instrumental pieces performed and orally transmitted among players of a two-stringed lute called dutar in Turkmenistan. Through music analysis, it seeks to illustrate exactly how Turkmen dutar players negotiate contrasting demands to maintain the pieces as learned from their masters while also developing them over time as part of an ongoing collective composition process... more >>
Comparisons of African and Diasporic Rhythm: The Ewe, Cuba, and Martinique
Julian Gerstin (Keene State College)
Comparisons of African and Diasporic rhythms by both scholars and working musicians have in recent years increased in sophistication and explanatory power. Yet what Polak (2010) calls the “mainstream” view leans heavily on a relatively small number of specific musical cultures, among which Ewe music of Ghana and Afrocuban music are strikingly visible... more >>
Shakuhachi honkyoku: Motivic analysis of Sokaku Reibo
Amy D. Simon (University of Prince Edward Island)
Previous studies of shakuhachi honkyoku have approached analysis from the starting point of octave-species scales as well as trichords spanning a perfect fourth. However, a case study of the Kinko-ryū piece Sokaku Reibo shows that not all tonal content is accounted for by these frameworks... more >>
Keynote Address from the Fourth International Conference on Analytical Approaches to World Music
Coordinating Analyses of Tuning with Analyses of Pieces
Jay Rahn (York University)
Analyses of tunings have often been carried out independently of pieces in which they are actually realized. Whereas tunings are prima facie relevant to pieces in which they occur, to what extent is this so? And does such a relationship hold in both directions? That is, are analyses of pieces relevant to analyses of their tunings? more >>
Review of Michael Church, ed., The Other Classical Musics: Fifteen Great Traditions (Boydell & Brewer, 2015)
Mark Hijleh (King's College)
This review essay highlights the innovative and useful contributions of The Other Classical Musics to newly re-emerging streams of analysis within "comparative musicology," while also raising questions about the role of cross-cultural fusion in the evolution of classical musics, their histories and geographies. ... more >>
The Byar: an Ethnographic and Empirical Study of a Balinese Musical Moment
Andy McGraw (University of Richmond) and Christine Kohnen (Carleton College)
The Balinese gong kebyar repertoire is marked by virtuosic, unmetered tutti passages, referred to as kebyar, which often begin with a byar, a sudden, tutti chord performed by the majority of the ensemble of 20-30 musicians. more >>
The Myth of Equidistance in Thai Tuning
John Garzoli (Monash University and Chulalongkorn University)
It is a long-standing and widely accepted theory that Thai classical music (phleng Thai doem) is based on a tempered tuning system that divides the octave into seven proportionally equal intervals of 171.429 cents, sometimes called “7-tet.” more >>
Quantifying Musical Meter: How Similar are African and Western Rhythm?
Godfried Toussaint (New York University Abu Dhabi)
For a given family, corpus, style, or genre of musical rhythms, the pulse saliency histogram counts the relative frequency with which an onset occurs in each pulse position of the rhythm timespan (cycle, measure). more >>


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