现代化进程中的社会边缘化现象--透视20世纪二三十年代上海帮会

20世纪二三十年代,帮会这种传统社会的怪胎,在处于社会转型时期的上海得到全面的复苏和全方位的发育。上海帮会的大发展,是与上海新旧并存的社会环境、人口失控与社会失调、以及帮会与政权相互需求等因素有密切的关系。“适时而变”是这一时期上海帮会最为显的特点。“适时而变”使其获得了,特殊的生存空间,成为一支不可小觑的社会力量。但某些资本主义色彩并未改变其反社会、反现代理性与法则的破坏性本质。     

The quality of mercy: confraternities and public power in medieval Bergamo

The political transformation of Italian cities during the thirteenth and fourteenth centuries had a significant impact on the social fabric of those communities. This essay examines the effect of political change on the social order in urban Italy through a study of the response of lay confraternities in Bergamo to the demise of the commune and the rise of the Visconti signoria. We examine the administration, the civic commitments, and the charitable donations of the city's largest confraternity, the Misericordia Maggiore, from the late thirteenth century, when it was a close supporter of the commune, to the mid-fourteenth century, when the confraternity came increasingly to resemble the signorial regime. In its emulation of the social values of contemporary government, and its willingness to adapt to suit prevailing political structures, the Misericordia helped smooth the transition from commune to signoria for its membership and the community at large.     

The Public Face of Post-Tridentine Italian Confraternities

Catholic reforming policies and Council of Trent rules encouraged and expanded the more public roles and responsibilities of lay confraternities, changing the nature of some old brotherhoods, and promoting new ones. The public images became more important for members, the wider church institutions including associated religious orders, and the public. This article considers some significant aspects of the "public face": processions, Forty Hour devotions, philanthropy. Confraternities contributed to the theatricality of post-tridentine, "baroque" religion in cities like Bologna, Naples and most especially Rome, where the Spanish national confraternity played a spectacular role.     

Analysing musical culture in nineteenth-century Europe: towards a musical turn?

The aim of this article is to establish the extent to which the history of music can offer new perspectives on the modern period. We need a change of perspective, moving away from the aesthetic debates on music to an investigation of actual experiences and practices of participants. Audience behaviour provides a link between musical production and society. In order to make opera houses and concert halls visible as social spheres, this article draws on examples from the musical life of Berlin and London in the 1800s. Music should no longer be regarded as a peripheral phenomenon, but instead as a potential historical question. The analysis of musical performances prompts at least one: music matters.     

Cultural policies for national music in South and North Korea (1960s–70s): a comparative study

ABSTRACT

This article is a comparative study of the cultural policies of North Korea (DPRK) and South Korea (ROK) in the 1960s and 1970s, specifically concerning the disciple of music. In this period, both South and North Korean regimes demonstrated similar conceptualisations of ‘national music’, harmonising Korean traditional music with western musical styles, but the end result differed in the two regimes. The DPRK developed national music through a homogenised musical style by assimilating Korean folk music with a western musical style while excluding traditional court music, with drastic modifications to traditional instruments and musical forms. In contrast, the ROK’s policy on establishing national music resulted in a combination of traditional court music for the ruling class and western classical music, indicating elitism. Particularly, this article argues that these distinct features of their national music were the result of differences in the strength and interest of government officials between the regimes.     

The leitmotiv in the mathematical thought of Gerbert of Aurillac

The political transformation of Italian cities during the thirteenth and fourteenth centuries had a significant impact on the social fabric of those communities. This essay examines the effect of political change on the social order in urban Italy through a study of the response of lay confraternities in Bergamo to the demise of the commune and the rise of the Visconti signoria. We examine the administration, the civic commitments, and the charitable donations of the city's largest confraternity, the Misericordia Maggiore, from the late thirteenth century, when it was a close supporter of the commune, to the mid-fourteenth century, when the confraternity came increasingly to resemble the signorial regime. In its emulation of the social values of contemporary government, and its willingness to adapt to suit prevailing political structures, the Misericordia helped smooth the transition from commune to signoria for its membership and the community at large.     

晋朝废乐考

早期中国的音乐具有与政治分不开的特征,而在儒教经典中的废乐思想,即由于禁忌观念而排除音乐的思想,到晋朝才反映到国家仪礼上。本文以废乐为主,对王朝动态与运用音乐、国家仪礼与魏晋风俗的关系加以考察探讨。     

Contemporary ‘Folk’ Dynamics: Shifting Visions and Meanings in the Goalpariya Folk Music of Assam

Abstract

Goalpariya music is a genre of folk music sung primarily by women. Common among the rural labouring classes, the songs deal with women’s desires, emotions, sensuality, and longings. Since the 1950s, major transformations have emerged within the performative space of the folk tradition, especially with the coming of Pratima Barua Pandey into this field. From an original mundane setting, Goalpariya music has now moved to an international musical performance context. This article explores this transition of the music from the ‘common folk’ to a ‘respectable’ platform. The article analyses how folk traditions may undergo a range of shifts to adapt to various social, economic, and cultural forces. Paradoxically, these transformations also lead to the emergence of a politics of authenticity, leading to a questioning of the concepts of tradition, authenticity, and cultural purity. The findings of this study are the outcome of fieldwork conducted in Gauripur and Guwahati in Assam, India.     

Why get involved? Finding reasons for municipal interventions in the Canadian music industry

This article investigates the role of Canadian municipal governments in relation to the development of music industry policy. It examines two attempts by Canadian cities (Calgary and Toronto) to develop municipally based music policies. Both cases are examined in context of the policies of other levels of government in Canada, where municipalities have not generally played a significant role in addressing the music industry. Historically, music industry policy has been a concern of federal government policies. The article addresses how this creates a particular conception of the industry and the extent to which municipal policies need to challenge this in order to be effective. Further, the article examines some of the other factors that constrain and shape the ability of Canadian municipalities to intervene in this field.     

Unterscheidung und Synthese: Rezeptionsformen akustischer Forschung in der Musikliteratur des 19. Jahrhunderts

Differentiation and synthesis. Forms of reception of acoustical research in the musical literature of the nineteenth century. In the nineteenth century, both musical scholars and natural scientists discussed the relevance of acoustical research for the theory and practice of music. Whereas some musical theorists and acousticians plead together for an acoustical foundation of musical theory, other scholars questioned the significance of physical and physiological knowledge for a deeper understanding of music. Based on an analysis of musical journals, popular scientific writings, theoretical treatises and musical dictionaries this article demonstrates how musical scholars and natural scientists argued about the question which discipline should have the final say about musical concepts and terminologies. To merge both heterogeneous spheres – music and acoustics – or to carefully distinguish between them – these two positions shaped the dispute over the relationship between music and natural sciences in the nineteenth century.     

Performing identities: music and dance in the Irishcommunities of Coventry and Liverpool

This article will examine how British-born second- and third-generation Irish people use Irish music and dance in the production of an Irish cultural identity. The article draws on research undertaken with members of the Irish communities in the English cities of Coventry and Liverpool. The research was conducted with music and dance practitioners in Liverpool who strongly identify as Irish and also with schoolchildren in Coventry whose parents or grandparents were born in Ireland. The paper first explores the comments of the Liverpool respondents and points to how music and dance can offer a space in which different generations can mark out their affiliation or embody their Irishness. Secondly, the paper considers interview work with schoolchildren in Coventry, concentrating on their responses as listeners to Irish traditional music. Their comments point to the capacity of this music to resonate with multiple, even conflicting, productions of Irishness. The comments of all the respondents raise key debates about authenticity and the construction of identity.     

The unbearable weight of music: The intermezzo

The affordances of musical experience, its capacity to become our mode of being-in-the-world, especially in ritual situations, can be turned against us into an aversive sonic attack that bends the social arc into a liminality without end, a time in between that goes nowhere. And when this happens, we have entered the realm of music torture, a relatively recent innovation in that dark art that was ushered into the world in full force at the beginning of the 21st century. Music became part of a regime of no-touch torture inflicted upon detainees in the ‘global war on terror’, itself a war without end. In this article, the author argues for an ontomusicology that understands music as ritual and ritual as music – in this case, ritual that inverts Victor Turner’s notion of communitas, with all of its attendant modes of being-with, into a solitary mode of existence with no hope of escape, a musical ritual torture, a perpetual intermezzo.     

Performing arts as cultural heritage in the Federated States of Micronesia

This article explores the performing arts as cultural heritage in the Federated States of Micronesia (FSM) in the western Pacific. It examines policies for and ideas about the support, management and safeguarding of the performing arts, first through the colonial lens of historical preservation, then through intangible cultural heritage and finally from recent theorising in music ecology. In presenting an overview of cultural heritage policy in the FSM with regard to the performing arts, this paper discusses the relationship between heritage practices and colonialism, and it reviews the place of music and dance in the cultural management of Micronesia. Drawing on recent work in ethnomusicology, the article argues for considerations of the holistic space of the performing arts and the facilitation of participatory practices to address concerns of cultural demise and to reframe approaches to music and dance as cultural heritage in the Pacific.     

The role of classical music in the construction of nationalism: an analysis of Danish consensus nationalism and the reception of Carl Nielsen

ABSTRACT. Very little research has been conducted into the relationship between classical music and nationalism. This is a shame as music has played a significant role in the construction and consolidation of nationalism in many European countries. This article illustrates this by analysing the role of classical music and, in particular, contemporary serious music in the construction of Danish consensus nationalism in the 1930s and 1940s. In so doing, it explores the repression of the modernist expression which was and still is considered a Continental European phenomenon in favour of a local and traditional expression. Furthermore, it analyses the elevation of Carl Nielsen to the position of Danish composer par excellence.     

From Coombs to Crean: popular music and cultural policy in Australia

The many bodies administering Australian arts activity were incorporated within the Australia Council, established in 1973 by the Whitlam Labor Government to oversee Commonwealth arts policy under the direction of H.C. ‘Nugget’ Coombs. This article takes the establishment of the Australia Council as a starting point in tracing changing attitudes towards the practices and funding of popular music in Australia and accompanying policy discourses. This includes consideration of how funding models reinforce understandings of ‘high’ and ‘low’ art forms, the ‘cultural’/‘creative’ industries debates, and their effects upon local popular music policy. This article discusses the history of local music content debates as a central instrument of popular music policy and examines the implications for cultural nationalism in light of a recent series of media and cultural reports into industries and funding bodies. In documenting a broad shift from cultural to industrial policy narratives, the article examines a central question: What does the ‘national’ now mean in contemporary music and the rapid evolution of digital media technologies?     

Ramadan Blues: Debates in Popular Islam during Ramadan in Amman,Jordan

Within the context of the contemporary Middle East and the post‐Islamic Resurgence, avoiding music has become associated with a rise in religiosity and normative Islam. As a result, residents of Amman, Jordan actively avoid consuming music during Ramadan. A large‐scale survey and ethnographic data, including participant observation with employees in an Islamic bank, confirm that avoiding music is a public ethic of Ramadan that is temporally specific and in wide use during the month. In this article, I argue that the tensions surrounding the debates of music's compatibility with normative Islam are enacted in terms of a conflict between cultural and Islamic authenticities. These tensions are resolved temporarily during Ramadan through altered consumption in which one ethical, “Islamic” framework that regards music as haram, or “forbidden,” eclipses another, more diverse “cultural” framework, and does so largely without inducing crisis or controversy. This is because the two realms are not articulating with each other; rather, claims of a normative Islamic authenticity overwhelm the possibilities for a more diverse cultural authenticity. Outside of Ramadan, however, these two competing authenticities often spark tensions and conflicts between family members, neighbors, and coworkers. This article concludes by exploring the implications of ordering morality for religious life in this assertive, even illiberal fashion for diversity in belief and practice.     

二十世纪马来西亚华人传统音乐文化的主题变迁

在实地田野考察和搜集大量史料的基础上,对20世纪马来西亚华人传统音乐文化的变迁进行了梳理和探讨,论述了其从传统地方性到新式统一性再到本土化发展的内在联系。华人传统音乐文化的变迁,使得马来西亚华人传统音乐文化从华人移民音乐成长为华族音乐文化,成为当地多元文化的重要组成部分。在这个变迁中,社团起到了很重要的支持作用。     

中国古代戏曲音乐的历史流变

戏曲音乐的主体是声腔艺术,而戏曲声腔艺术,则萌芽于金、元时期的北曲与南戏。北曲的形成与发展,确立并开创了我国初具规模的戏曲音乐。曲牌联套体制的组织结构较为严密完整,调性色彩对比较为鲜明,形成了北曲在戏剧音乐发展史上的特殊地位。南戏的音乐成熟虽较之北曲晚,但它繁衍迅速,吸取民间创作的传统特点,特别是采用了北曲的套曲,形成了“南北合套”,同时也解决了复杂的音乐技术问题,成为戏曲声腔艺术繁荣、发展的基础。