Ghostly Voices: some Observations on Song‐Creation,Ceremony and Being in NW Australia

Wangga songs are given to songmen by ghosts in dreams. By singing these songs in ceremony songmen at Belyuen gain power over the ghosts of the recently dead and thereby conduct them away from human society. This paper argues that it is the replication not only of the melodies, rhythms and words of the ghost‐given songs, but also the voice of the song‐giving ghost itself that gives the singer his power. While the accumulation of spiritual power through the replication of the actions of the world‐creating ancestors has been widely discussed in the literature, dreamt song has been less closely examined. It is suggested that dreamt songs such as wangga play a role in facilitating adaptation to new patterns of residency and are thus a significant element in contemporary Aboriginal life.     

Yusuf Islam (aka Cat Stevens) and his anti-war and pro-peace protest songs: from hippy peace to Islamic peace

ABSTRACT

In the 1970s Yusuf Islam (aka Cat Stevens) inspired a generation with his songs on anti-materialism, finding self and peace in such classic albums as Tea for the Tillerman (1970, US 3x platinum) and Teaser and the Firecat (1971, US 3x platinum). In December 1977 he converted to Islam, gave up popular music and focussed on humanitarian and educational work, until he returned to popular music in 2006. Meanwhile, Muslims became associated in the West as intolerant and violent. Yusuf has emerged in the last decade as a voice for progressive Muslims. This article explores the continuities in his music from his Cat Stevens days to his comeback and how he has reconciled popular music and his Cat Stevens past with his understanding of Islam. The focus is on his anti-war and pro-peace songs. It argues that his earlier songs are similar in their messages of world peace through love and unity, though less dark than his post-2006 songs. Additionally, his recent songs have a new message that the world must be more inclusive to achieve world peace. This is connected to him being a Muslim in the West and his feeling of exclusion, in an age when many in the West portray all Muslims as extremists. Consequently, in his recent music he reflects his experience as a Muslim, in the same way as his earlier music reflected the counter-culture of that period. Thus he has gone back to his earlier self after adopting a progressive understanding of Islam. Not Started Completed Rejected.     

Modelling Folksong Melodies

Abstract

In the second half of the twentieth century, ethnomusicologists assembled a collection of more than 7000 field recordings of Dutch ballads. Collectively known as Onder de groene linde, these recordings are preserved at the Meertens Institute in Amsterdam. Because of its size, composition and quality of metadata, Onder de groene linde is a unique resource for studying the musical properties of folksongs. For such study, it would be essential to search and order the songs automatically, not just using the metadata, but especially their musical content. It is the aim of the WITCHCRAFT project to design and implement methods for processing the musical content of the songs. Such a project involves two disciplines, musicology and computer science, that have different goals and methodologies. Such differences can lead to unproductive tensions, but can also be exploited in order to attain new insights that could not have been attained by the separate disciplines.     

Controlling for Doubt and Uncertainty Through Multiple Lines of Evidence: A New Look at the Mesoamerican Nahua Migrations

Nahuatl represents a relatively recent extension of the Uto-Aztecan language family into Mesoamerica. Ethnohistorians have linked Nahuatl's arrival to the historically attested migrations of nomadic people into central Mexico in the last centuries before the Spanish Conquest. Archaeologists have tended to treat migration as an explanation for a change in material culture rather than a social question to be examined theoretically. We approach this migration through the comparison of multiple data sets and conclude that what has previously been treated as a historical event is instead part of a longer term process tying together Mesoamerica's northern periphery with its highland core. While we find that certain themes from migration theory are reflected in this preindustrial migration as well, other variables are unique and bode well for archaeology's ability to address and contribute to theoretical issues relating to migration.     

Singing about the Land among the Biangai

This paper examines Biangai (Morobe Province, Papua New Guinea) expressions and transformations of environmental imaginaries through women's mourning songs (yongo ingi) and the songs of string bands. Biangai personhood, once intimately connected to garden lands and trees, hunting and forest paths, is increasingly influenced by global capitalism. Through their songs, they betray an increased tension between acting as an individual person and acting in terms of kin based relationality. While yongo ingi still memorialize the social spaces and land rights of the deceased, they also express conflicts in Biangai engagement with gold mining. Biangai string bands emerged just prior to Papua New Guinea's Independence in 1975, with the first band recording and releasing a national cassette in 1982. Dominated by young men, they depict the intersection of local music with a Melanesian modernity composed of compensation payments, gold mining, love, travel, and marketing. Both yongo ingi and string bands inform each other and provide insight into how local music engages images of both global economy and global ecology. By examining the uses, meanings, and performative contexts of these songs, this paper contributes to our understanding of the role of such expressive forms in connecting persons and their environment.     

Shallow geophysical survey at the archaeological site of San Miguel Tocuila,Basin of Mexico

A combined near surface geophysical survey conducted in San Miguel Tocuila show that geophysical methods offer the possibility to characterize and reconstruct the geometry of subsurface structures without destroying the deposits, providing a way to find solutions to the questions of archaeological or engineering significance. The survey consisted of the application magnetometry, seismic refraction tomography (SRT) and ground penetrating radar (GPR) within a depth range of 10 m. Before Spanier conquest San Miguel Tocuila was a very prominent suburb of the main Aztec ceremonial complex located on the eastern margin of Lake Texcoco, central Mexico, where several mounds known as Tlateles in Nahuatl language have been identified. Nowadays, the rapid expansion of Mexico City's metropolitan area within the last four decades has strongly influenced Tocuila's environment and has compromised several of its archaeological and ancient human settlements. This study shows how the high resolution imagining of non-invasive geophysical methodologies in addition with surface archaeological studies [Parsons, J.R., 1971. Prehistoric Settlement Patterns in the Texcoco Region, Mexico. Memoirs of the Museum of Anthropology, University of Michigan, Number 3] provide different kinds of information that characterize the subsoil and a buried structure. Based on the history of the ancient settlements in the zone and considering the characteristics of shape and height of the structure, we interpreted that the subsurface images obtained depict a buried Tlatel which corresponds to a ceremonial–civic center of Late Aztec times.     

Representations of 1968 in French Popular Music: The Case of Dominique Grange

Focusing on the songs written during 1968–69 presented on the album L'Utopie toujours…(2004) by Dominique Grange, this article discusses some of the representations of key themes of 1968 in song. Grange is a politically engaged singer-songwriter who, whilst enjoying limited commercial success, was very much involved with the 1968 protest movement in Paris and was subsequently linked with various Maoist organisations throughout the 1970s. Her songs constitute an immediate response to the events of 1968 and reflect many of the key themes of the period as identified by Kristin Ross, whose seminal work on May ’68 provides the starting point for the article. The themes of disruption, displacement and reappropriation that Ross identifies in the movement generally are analysed within the context of Grange's songs. In particular the representations of these themes in the context of political contestation, the occupation of space and the seizing of speech are considered. This analysis will ultimately show how Grange's songs highlight the complex nature of the cultural construction that is 1968.     

Chinese popular music as a musical heritage and cultural marker of the Malaysian Chinese

Chinese popular music, inspired by pre-war Shanghai music known as ‘shidai qu’ (时代曲) (songs of the era) and evolving to include Canto pop and Taiwanese Mandarin songs, has always been popular among the Chinese in Malaysia. This music is featured on radio, television, karaoke, and performed by orchestras such as the Dama Chinese Orchestra (大马) to enthusiastic reception. The songs have a broad appeal that transcends time, generation, and place. Of significance is the observation that the music has become a cultural marker and musical heritage for Chinese in Malaysia and in the region. The paper looks at factors behind this development.     

基于关键词共现和社会网络分析的北京城市歌曲中地方意象特征研究

选择1949年以来以北京为主要描述对象的118首华语流行歌曲为研究素材，以歌词中的主要词汇构建共现网络，采用社会网络分析法进行整体网络指标、节点中心性、核心—边缘模型和社区检测分析。研究发现词汇共现网络呈现出“核心+半边缘+边缘”的圈层结构，以核心区词汇所呈现的物质空间和社会心理两个维度的意象元素认知为主，半边缘区词汇充分拓展地方意象内容，边缘区词汇进行具体歌曲的个性化表达。通过社区检测可以将北京城市歌曲中的地方意象归纳为强政治性、显地方性、高象征性、泛世俗性4类特征，在歌曲的演唱视角、歌词内容、曲调旋律、情感表达、创作话语权等方面得以体现，并且存在时间变化特征，从而反映了一定话语环境下地方意象的生产与变化。     

“Did that play of mine …?”: James Connolly,Cathleen Ni Houlihan and staging revolution

Abstract

Despite the crucial position he occupies in Irish history as one of the leaders of the Easter Rising, and the political – and emotional – impact of his subsequent execution, while wounded, by the British Army on 12 May 1916, the writings of Edinburgh-born James Connolly have often been overlooked in both Irish and Scottish studies, and not just in accounts of the Rising but also in the wider context of cultural connections, including cultures of commemoration. In particular, Connolly’s surviving literary work, including Under Which Flag?, the drama staged on the eve of Easter 1916, as well as poems and songs, has had limited attention. This article reconsiders Under Which Flag? in comparison with Yeats and Gregory’s Cathleen ni Houlihan in order to demonstrate the central place the drama holds as a continuation – and complication – of Connolly’s political and journalistic writings. If Connolly is a neglected figure as a writer – as opposed to a political leader and martyr – then the play he left behind (once thought to have been lost, like another of his dramas, The Agitator’s Wife) affords us an opportunity to reassess his contribution to the struggle for independence as part of its literary wing.     

Migration and adaptation of popular Balladry in the US Appalachian region

Scottish ballads were carried to isolated hamlets in the Appalachian Mountains of North America through successive waves of migration in the 17th and 18th centuries. The cultural diffusion of ballad singing underwent divergence as the songs were transmitted orally. Place names, local festivals, and current events were especially plastic components of this process. In the beginning of the 20th century, the intrusion of the radio and rural disturbances brought about by the coal industry functioned as barriers to cultural transmission of the ballads. Even so, songs were kept alive as evidenced by the metamorphosis of My Boy Tammie into Billy Boy and the more recent resurrection of The Elfin Knight into popular culture as Scarborough Fair by Simon and Garfunkel. The relationship between orality and literacy is multi‐faceted and difficult to categorise and evaluate.     

Jatanā: A Peasant Woman’s Ballad from Haryana in North India

Women’s private folk songs in male-dominated societies often keep a fascinating record of their critique of the patriarchy’s hegemonic tendencies. These folk songs reveal the women’s sense of resentment against their subordinated position in a patriarchal system, and also their desire to live in an egalitarian world. This article analyses a North Indian Haryanvi peasant women’s folk ballad called Jatanā as a site of both resentment against masculinist culture and imaginative and defiant escape from its bounds.     

“A beacon-light to the oppressed of every land”: James Connolly and the work of the working-class intellectual

Abstract

This article seeks to defend James Connolly from attacks on both the Left and Right, particularly the charge that his legacy is nationalist delusion and fanaticism. The article argues that Connolly’s politics and his engagement with Irish cultural politics demonstrate his commitment to human equality as both a right, but also a principle of human intelligence. The article addresses Connolly’s status as a working-class intellectual with reference to how he challenges conventional hierarchies between the philosophers of Marxism and the proletarians who are the object of those deliberations. The article argues that from Connolly’s thought and activism an anti-colonial Marxism emerges which might help explain the neo-imperialist world we find ourselves in today and provide a critique lacking in the collapsed teleological versions of orthodox Marxism. The relations between his Marxism and nationalism are explored, as are his play Under Which Flag? his poetry and songs.     

“Voy a empeñar la Edad de Oro”: Historia,música y política en la crisis española (2011–2016)

ABSTRACT

Spain's current economic and social crisis has involved a profound reappraisal of the country's history, institutions, and official narratives, especially after the emergence of the 15M or indignados movement in 2011. A crucial example of this shift has been the widespread criticism of Spain's “Transition to Democracy” or Transición, widely considered Spain's “foundational” narrative. In this article, a series of examples from the musical field—including essays, songs, and public uses of music—are studied and contextualized in order to analyze different interpretations and critiques of the Transición developed by artists, intellectuals, and politicians who took part in the 15M or have been influenced by its “climate” (Fernández Savater). In these examples, two complementary trends are identified: on the one hand, an intention to reclaim part of the Transición's collective mood through its musical symbols; on the other, a rejection of its political legacy, as expressed in criticisms of its musical canon.