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Musiktraditionen im Kontext moderner Globalisierungsprozesse und globaler Denkkonzepte
No full textThe documentation of music cultures and the research in and on “classic” regions like India, Indonesia, and Sub-Saharan Africa still plays a central role within ethnomusicological research. However, given the increasing impact of global processes, the central guiding questions of the discipline have undergone profound changes in recent years. Approaches towards globalization are highly varied: One dominant perspective – which can be described as “skeptical” – has equated globalization with musical homogenization. This perspective is still apparent in approaches in European folk music research, which focus on the preservation of “traditional” cultures. Besides hyperglobal perspectives, which perceive the emergence of global networks (hypermedia, mass media, cultural organizations) as a positive development, one can predominantly observe the emergence of transformationalist approaches in recent decades: Global interconnectedness is viewed as a (neutrally perceived) basis for the emergence of new musical structures here. The transformation of the discipline is also apparent in the shift of the historical perspective. Comparative Musicology had already developed a global-historical perspective, which, however, became problematic due to the lack of contextualization. This might explain the subsequent distanced stance taken towards global concepts. Yet the focus on oral cultures also neglected deeper analysis of the historical dimension. At present, one can observe the emergence of a – albeit highly differentiated – change of perspective. While the Anglo-American approaches encourage the development of a specifically ethnomusicological-historical methodology, this separation between ethnomusicological and historical topics is perceived as racist in countries like South Africa. Starting out with an analysis of the concept of canonization in ethnomusicology, this article not only provides an overview of the aforementioned approaches and developments, but also discusses the integration of these processes into ethnomusicologically informed music pedagogical teaching material – within both a school and university context
Der ethnographische Umgang mit Erinnerungsprozessen in der Ethnomusikologie: Einblicke aus der Konflikt- und Traumaforschung
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Kontinuität und Wandel in der Tradition der Pauliteiros de Miranda (Trás-os-Montes, Portugal)
No full textPRINTAUSGABE: 1 CD enthalten! --
Diese Diplomarbeit befasst sich mit einem Stocktanz aus dem Nordosten Portugals (Region Trás-os-Montes) bekannt als „dança dos paulitos“ (paulito = kleiner Stock) oder „dança dos Pauliteiros” (Pauliteiros = Stocktänzer). Sie basiert auf Feldforschungen, die die Autorin zwischen August 2002 und Jänner 2004 in Portugal durchgeführt hat.
Die acht männlichen Tänzer des dança dos paulitos tragen ein spezielles Kostüm, das aus weißen Röcken oder im rituellen Kontext aus schwarzen Hosen sowie geschmückten Hüten und Westen besteht. Sie werden vom sogenannten tamborileiro, einer Person, die fraita (dreilöchrige Hirtenflöte) und tamboril (Trommel) gleichzeitig spielt, oder der Gruppe der gaiteiros begleitet. Die gaiteiros bestehen aus einem Spieler der gaita de fole (Dudelsack), der caixa (Schnarrtrommel) und der bombo (große Trommel). Charakteristisch für den Tanz ist das Schlagen der Stöcke jedes Tänzers im Rhythmus der Musik. Das Repertoire der Pauliteiros besteht aus den sogenannten „lhaços“, der Musik, die mit dem Stocktanz assoziiert wird und auch gesungen oder instrumental gespielt werden kann, und den passacalhes, Musikstücke, die in Prozessionen gespielt werden.
Die Diplomarbeit teilt sich in zwei Teile, von denen der erste in die angewendeten Methoden einführt, einen Überblick über frühere Forschungen zu den Pauliteiros gibt, ein Glossar der verwendeten portugiesischen Wörter anführt, in den geographischen und sozio-kulturellen Kontext des Tanzes einführt und versucht, den Tanz innerhalb der Schwerttänze zu klassifizieren als rituell, religiös und mit kriegerischen Elementen. In seiner Form gehört der dança dos paulitos zum pan-europäischen Kettenschwerttanz.
Der zweite Teil konzentriert sich auf neun Pauliteiros-Gruppen des concelho (administrative Einheit) Miranda do Douro, die sogenannten Pauliteiros de Miranda und teilt sich in A) Zusammensetzung der Pauliteiros de Miranda, Aufführungskontext und Folklorisierungsprozesse und B) Repertoire, Text, Musik und Choreographie der Pauliteiros de Miranda.
Die Anhänge beinhalten eine Systematisierung des Repertoires der Pauliteiros de Miranda. Gedruckte Quellen zum Repertoire, das Repertoire jeder Gruppe aus Miranda sowie das Repertoire von Pauliteiros anderer concelhos der Region Trás-os-Montes sind angegeben. Weiters sind Transkriptionen einiger lhaço-Texte von anderen Autoren und ausgehend von Feldforschungsaufnahmen der Autorin selbst angeführt. Varianten des Textes des lhaço Mirandum und des lhaço Caballero sollen Impulse für zukünftige Forschungen geben.
Die Choreographie des Stocktanzes ist im Anhang C transkribiert und Aufnahmen anderer Autoren und der Autorin dieser Arbeit werden angegeben. Anhang D beinhaltet die Transkription von dreiundreißig lhaços, die von der Autorin aufgenommen wurden. Ein Kalender der religiösen Feste in Miranda ist in Anhang E zu finden und Anhang F weist auf audiovisuelle Quellen der von der Autorin durchgeführten Feldforschung hin. Die Anhänge beinhalten außerdem den Ablauf der Feldforschungen der Autorin in Portugal zwischen August 2002 und Jänner 2004 sowie die für die Arbeit verwendete Bibliographie und Videographie.
Die wichtigsten Erkenntnisse dieser Studie sind der Wandel des Aufführungskontextes der Pauliteiros, nämlich vom rituellen zum folkloristischen, die Konstruktion von Identität, der Wandel im Repertoire und in der Choreographie der Pauliteiros de Miranda im 20. Jahrhundert, die Variation was das generelle Aussehen, Repertoire und Choreographie der verschiedenen aktuellen Gruppen von Miranda anbelangt sowie Einblick in Folklorisierungsprozesse. Die Autorin beobachtete einen Rückgang des Repertoires aufgrund des Verlustes der Texte und einer Verschmelzung der lhaços, die sich melodisch ähnlich sind sowie aufgrund des Rückgangs des Stocktanzes in lokalen religiösen Festen in Miranda mit einhergehender steigender folkloristischen Aktivität.
Das Manuskript der Arbeit umfasst 233 Seiten bei 1,5 Zeilenabstand, 27 Fotos und andere Illustrationen und eine Begleit-CD mit Audiobeispielen, um das Repertoire der Pauliteiros zu illustrieren.This master’s thesis is about a stick dance from North-eastern Portugal called "dança dos paulitos" (paulito = small stick) or “dança dos Pauliteiros” (Pauliteiro = stick dancer). The study bases on field work carried out by the author between August 2002 and January 2004 in Portugal.
The mostly eight male stick dancers wear a particular costume comprising white skirts or, in ritual context, black trousers, as well as ornamented hats and vests in both costumes. They are accompanied by the group of the gaiteiros composed by the gaita de fole (bagpipe), caixa (small drum) and bombo (bass drum) or by the so called tamborileiro (individual playing fraita (three-holed-flute) and tamboril (drum)). Characteristic for the dance is the complementation of the rhythmic section by the striking of two sticks by each dancer. The repertory of the Pauliteiros is composed by so-called lhaços, the music associated to the dança dos paulitos that can also be sung or played instrumentally, and passacalhes, musical pieces played in processions.
The thesis is divided into two parts, of which the first is an introduction into the method applied by the author, an overview over former research by other authors, a glossary of the Portuguese words, an introduction into the geographical and socio-cultural context, as well as a classification of the Pauliteiros stick dance within the genre of pan-European chain sword dances.
The second part focuses mainly on nine groups of Pauliteiros from the municipality of Miranda do Douro, the so called Pauliteiros de Miranda, and is divided into A) composition of the Pauliteiros de Miranda, performance contexts and folklorization processes, and B) repertory, text, music and choreography of the stick dance.
The annexes contain a systematization of the repertory of the Pauliteiros de Miranda referring to written sources, indicating the repertory of each group in Miranda, as well as the repertory of Pauliteiros from other municipalities in the region of Trás-os-Montes. Besides, transcriptions of lhaço texts by other authors and recordings of the author’s field research are indicated and variants of the text of the lhaço Mirandum and the lhaço Caballero are given in order to give an impulse for future research.
The choreography of the stick dance is transcribed in annex C and recordings of the dance by other authors and by the author herself are indicated. Annex D contains the transcription of thirty-three lhaços recorded by the author. An agenda of religious feasts in Miranda is found in annex E, and annex F indicates audiovisual sources from the author’s field research. Further, the annexes contain the agenda of the author’s field research in Portugal from August 2002 to January 2004, as well as the bibliography and videography of the thesis.
The major findings of this work are the change of performance contexts, the construction of identity, the change in repertory and choreography of the Pauliteiros de Miranda during the 20th century, the variation concerning general aspect, repertory and choreography among the different groups from Miranda today, and an insight into their folklorization process. The author observed a reduction of the repertory due to the loss of the texts of the lhaços and an amalgamation of lhaços with similar melodic elements, as well as less participation of the Pauliteiros in religious local feasts in Miranda and an increasing folkloristic activity.
The manuscript of the thesis contains 233 pages (1,5 line space), 27 photos and other illustrations, as well as an accompaniment CD with audio examples to illustrate the repertory of the Pauliteiros
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
The Pauliteiros de Miranda: from local symbol to intangible cultural heritage?
Get PDFThis text is on a Portuguese stick dance known as dança dos paulitos. The analysis is based on field research the author carried out in Paris and Portugal between 2003 and 2007. The focus lies here on the stick dancers from the concelho (municipality) of Miranda do Douro situated in North Eastern Portugal, the so called Pauliteiros de Miranda. The evolution from their revival to patrimonialisation processes is discussed and it is shown how the dance contributes to the promotion of a local community and how it is turning into a regional and national symbol. A distinction between the object-oriented and process-oriented type of revival is made by examining the ritual and folkloristic performance contexts.Este texto fala da dança de paus portuguesa conhecida como dança dos paulitos. A análise baseia-se em pesquisas de campo levadas a cabo pela autora em Paris e Portugal entre 2003 e 2007. Aqui, o foco está na dança dos paulitos do concelho de Miranda do Douro situado no Nordeste de Portugal, os chamados Pauliteiros de Miranda. Discute-se como a dança evoluiu de revivificação a processos de patrimonialização e mostra-se como a dança contribuiu para a promoção duma comunidade local e como se tornou num símbolo regional e nacional. É distinguido entre o tipo de revivificação orientado para o objecto e o tipo de revivificação orientado para o processo em que os contextos performativos rituais e folclorísticos da dança são examinados
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