Aesthetic cosmopolitan,national and local popular music heritage in Melbourne’s music laneways

There are currently few examples of popular music being officially celebrated as heritage in Australia. Interest in this area is growing, however, and this paper examines how Melbourne, the capital of the state of Victoria, has recently named three laneways after rock artists, namely, AC/DC Lane, Amphlett Lane and Rowland S. Howard Lane. Using interview and observational data collected at the laneways, we demonstrate that these spaces respectively reflect aesthetic cosmopolitan heritage (AC/DC Lane), national heritage (Amphlett Lane), and sub-national heritage (Rowland S. Howard Lane). The number of visitors to these laneways varies greatly across the sites, and reflects the national and international success of the artist commemorated. The laneways’ success as commemorative sites is also related to intersections of globally circulating ideas about what constitutes ‘rock’, what urban spaces should look or feel like, and how heritage is expected to be enacted (especially for tourists). Within this field, there are specifics relating to the Australian music industry that appear to find clear reflection in the sites chosen and their level of success as memorial spaces.     

浅论朱载堉十二平均律与西方十二平均律的关系

早在16世纪80年代,我国著名律学家朱载堉就已经发明了十二平均律,这比欧洲音乐家麦森的同样成果早半个世纪。但西方的十二平均律却是本土孕育的,西方的十二平均律与朱氏十二平均律并无直接关联。     

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。     

中国原始音乐起源的考古学观察

本文将原始音乐分为形体艺术、时间艺术和造型艺术三种艺术形态,从考古学的角度对音乐起源进行了初步考察,认为中国史前音乐萌芽于旧石器时代中期,形成于旧石器时代晚期。     

金文“句鑃”、“左守”讨论

金文中有自名“句鑃”的乐器,前人对其名的解释不尽完善,本文利用声韵训诂对“句鑃”一词的内涵意义和音读等多方面内容进行了研究和考证。“左守”一词是西周金文中新发现的,本文结合《三礼》等文献,从青铜礼器的性质、礼仪制度和语法结构、字义训释等方面论证了其含义,并阐明它对研究西周礼器制度的意义。     

RECONCEIVING THE PRACTICE OF HISTORY: FROM REPRESENTATION TO TRANSLATION

Arguing that history is not the application of a rigorous method to sources bequeathed to us from the past but rather a practice of coding that constructs “the past” in particular ways, this article seeks to delineate the key elements of this coding. Modern history treats past objects and texts as the objectified remains of humans who endowed their world with meaning and purpose while constrained by the social circumstances characterizing their times. This time of theirs is dead, and it can only be represented, not resurrected; the past is only ever the human past, and it does not include ghosts, gods, spirits, or nature. If, as argued here, “the past” does not exist independently of the means by which it is known and represented, then the many different modes of historicity that human beings developed and deployed before the modern form of history became dominant cannot be measured against “the” past in an effort to compare their accuracy or adequacy in representing it. The concluding section of this article asks what we are doing when we write the history of those who did not share the presumptions of the modern discipline but who had their own mode(s) of historicity. What, it asks, is the character and status of the knowledge produced when we write histories of premodern and non-Western pasts?     

Ideologies of artistic vocation – implicitly gendered cultural policies?

This paper argues that notions of artistic vocation – the idea that artists receive a metaphysical calling to follow their path – can be understood as implicit cultural policies, among other functions deepening the connection between art and spirituality, as well as regulating gender access to creative production. The matter is addressed generally and with reference to two specific case-studies: the musical era of German Romanticism and contemporary Mexican indigenous groups of the Huasteca, both of which display reliance on narratives of vocation. Also, both cases – one historically remote, and the other removed from Western main-stream musical practices – are to act as mirrors to invite future discussions concerning the continuing cultural currency of ideas of vocation and their complex and subtle complicity in the perpetuation of arguably desirable (such as the promotion of creativity) and oppressive practices within the art world.     

Memories of Music in Political Detention in Chile Under Pinochet

Music was commonly present in political detention centres during General Augusto Pinochet’s dictatorship (1973–1990), and has had important roles in post-dictatorship commemorations. However, music has received limited attention in cultural studies discussions of the Pinochet regime. This article examines a selection of memories of musical experiences of three former political prisoners, elicited through personal interviews. After contextualising the topic and discussing methodology, I present and discuss recollections of experiences in direct relation to torture and other cruel, inhuman and degrading treatment. By looking closely at the relationships between the musical experiences, genres and pieces remembered by the interviewees, a number of commonalities have emerged. However, I argue that these testimonies should be viewed in their uniqueness and specificity, and that the findings of this article are not necessarily representative of the experiences lived by the tens of thousands who went through political detention under Pinochet. This article also considers some of the ethical issues around work on human rights violations, and calls for recognition of the importance of archival and documentary work in relation to social and communal memory.     

Remembering Hermannsburg and the Strehlows in cantata form: music,the German-Australian past and reconciliation

This essay uses the 2003 symphonic Cantata Journey to Horseshoe Bend to examine some of the different entangled memories of German missionisation in Central Australia, including those held by the settler-European librettist Gordon Kalton Williams and members of the Indigenous Ntaria community choir, among others. Rather than simply reading this as a pernicious settler-Australian appropriation of Aboriginal culture, or as a simple story of harmonious intercultural collaboration, the author seeks to open up the multiplicity of meanings – the consonances, as well as the ambiguities and the disconcerting moments of uncanniness and clash that lie beneath the surface of a musical act of memory.