“Oh,what matter,when for Erin dear we fall?”: music and Irish nationalism, 1848–1913

Between the failed uprising of the Irish Confederacy in 1848 and the formation of the Irish Volunteers in 1913, music was a constant presence in the political life of Ireland. Physical force and constitutional nationalists alike found ample use for music, commemorating the martyrs of nationalism, intimidating opponents and expressing shared ideologies. Nationalist music was a regular feature at political rallies, at funerals and during elections, allowing parliamentary nationalists such as Charles Stewart Parnell to associate their cause with more radical ideals. This article employs a combination of historical and ethnomusicological methods in an analysis of songbooks, memoirs, oral histories and contemporary documents to reconstruct the nature and function of musical culture in nationalist politics between 1848 and 1913.     

Valleys of Historicity and Ways of Power among the Fuyuge

ABSTRACT Attention to history is widely seen as a necessary corrective to the synchronic perspective of ethnography, especially as this has come to inform research in Melanesia. In fact, anthropologists turn to the study of history not only to understand ‘change’ and ‘the past’ but to delineate the ‘history’ of the people studied. However, history as a concept and discipline has a unique place in western knowledge conventions, an outcome of the distinctive ways of gauging and relating past, present and future. Historical analysis can augment ethnography but not necessarily portray the history of the people concerned, as they may have no history, as such. The article suggests that historicity is a more appropriate notion with which to register the significant ways in which the social past is entangled in what people are and do and in their future potentialities. This argument is made with reference to the Fuyuge people of highland Papua and their involvement in engineered trail and road building during the colonial and post‐colonial period and their simultaneous interest in the performance of their gab ritual. These events exemplify different kinds of power and associated historicity. Through scrutiny of each it is shown that the form of Fuyuge (Melanesian) historicity parallels that of their sociality and its distinct temporality. The events that actors perform produce not so much history, as the recurrent evocation of past actions and the foreshadowing of future ones.     

古代谶纬的机缘巧合及在钱币中之妙用

谶纬,是中国古代文化中的一种现象,有着悠久的历史。即:把自然界中发生的偶然事件而神秘化,并用诡秘的隐语、预言作为神的启示,将其视为预示社会安危的决定因素,以告人政事,或昭示国运的兴衰。亦是方士或巫师假借神明来说吉凶祸福的征兆。其中,表现在对钱币的运用上尤为突出,足见其产生的影响。     

古诗、乐府考辨

诗、乐同源,合而不同;诗与乐府,并存不悖。汉乐府曲辞分为二途,一者采诗被乐,率多闾巷风谣;一者文人之辞,其中郊庙之辞,大半《诗》颂四言,故称诗而已矣。而文人五言虽杂乐府之中,然与民谣殊类,又异郊庙之辞,后世遂称古诗,姑且以为分别;魏晋以下文士所拟,大率其辞之流,于是概称古诗,且与乐府对举,以专后者之名,竟以汉世为宗。究之古诗、乐府,初则其义相即,并无截然分界,唯以后人所见,方有判然之别,而其对举互异,要归民间采诗与文人所作,二者分途,卒成两体。     

对中日学校唱歌的发生与发展的思考

音乐作为文化的一个领域,在中日交流中发挥着极其重要的作用。这一点从中日两国近代音乐交流的代表事物－学校唱歌（中国早期称之为学堂乐歌）中即得到反映。就中日两国而言,它体现了与西方音乐相接触时所发生的变迁,即音乐上的“涵化”过程。同时,由于两国社会历史条件、文化经济等方面的差异,因此两国的学校唱歌也有着不同的发展轨迹,对其的研究也正受到应有的重视。     

The Singing War: Canadian Soldiers' Songs of the Great War

Singing was an important leisure activity for Canadian soldiers serving overseas in the Great War. Soldiers sang popular songs of the day and religious hymns, while also parodying them to better suit their wartime experience. Singing was a group activity that brought men together, forged bonds of comradeship, reinforced belonging in the group, and helped the soldiers endure the strain of unending combat and service. Wartime songs reveal the culture from below and shed new light on the soldiers' experience.     

《诗经》籍礼乐歌新探——从礼仪视角考察《诗经》农事诗

《诗经》中的农事诗实即一系列农事礼仪的仪式乐歌,其中,最重要的农事礼仪莫过于籍田典礼。考察《诗经》中的农事诗,作为籍田典礼的仪式乐歌的只有两首,即《噫嘻》和《臣工》,前者为籍田中发布开耕命令的乐歌,后者为耨礼结束时告诫农官的乐歌。     

《孔子诗论》二则试析

《上海博物馆藏战国楚竹书·孔子诗论》第九简反映孔子对德的崇尚。第二十六简则见出孔子 反对隐逸。     

海外学堂乐歌的产生及其历史作用

本文分析了海外学堂乐歌产生的历史背景、海外学堂乐歌的类别及其特点。作者认为 ,这些学堂乐歌具有明显的与时俱进的时代特征 ;极力鼓吹和弘扬中华文化 ;提倡热爱中华祖国 ,为祖国服务 ;勉励学生勤学向上 ,充实自己 ,努力奋斗 ,不断追求进步 ;提倡热爱所在国、文化融合和中外友好。作者也分析了海外学堂乐歌的历史作用和意义。