ISSN 2158-5296
Volume 4, No. 1 (2015)
Global Musical Possibilities: An Interview with Composer-Theorist Robert Cogan
Lawrence Shuster (The College of St. Rose)
In this interview Lawrence Shuster asks Robert Cogan questions about his experiences with musics beyond the Western art mainstream, including his educational background, pedagogical practices, and scholarly pursuits. more >>
A Short Cross-Analysis of Brazilian Capoeira and Thai Sarama Music and Shared Ritual Practices
Duncan Williams (ICCMR, Plymouth University, UK)
This paper examines the somewhat surprising common ground that exists in the music and musical rituals found within the cultures of two geographically and stylistically disparate martial arts: Thai boxing (Muay Thai), and Brazilian capoeira. Though there are differences in instrumentation, meter, and mode, both capoeira and Muay Thai utilize music as part of formalized rituals before and during physical competition as part of their ‘martial’ practices... more >>
Impossible Melodies:
Octave Cycles and Illusory Pitch Shifts in a North Chinese Wind Repertoire
Beth Szczepanski (Lewis and Clark College)
Buddhist monks at Wutaishan in Shanxi Province, China perform melodies on shengguan wind instruments that seem to move to lower and lower pitches while actually remaining in the same narrow range. Pitch paradoxes such as octave cycling have been documented in music of Africa and Europe, but this is the first such example from East Asia to receive scholarly attention... more >>
Meaningful Adjustments:
Musical Performance and Ritual Action in a South Indian Temple
William Tallotte (University of London)
In this article, I analyze music and context as two interconnected parts. I examine musical performance and ritual action in a South Indian temple, focusing on the spatial, temporal and structural relationship between the music of an outdoor ensemble of shawm and drum players, the periya mēḷam, and the activities carried out by priests during the last daily worship performed in the Śaiva temple complex of Chidambaram, Tamil Nadu... more >>
Between Theory, Representation and Practice of Maqām:
Rethinking the Representation of the Arabic Maqāmāt
Brent Keogh (Macquarie University)
Traditionally, students learning the maqāmātare taught aurally, in the master-student paradigm, where phrase-by-phrase they acquire knowledge of the maqāmāt, which forms the building blocks of taqsīmand composition. While Western forms of notation for the representation of Arabic maqāmāt have increasingly been used to represent these modes... more >>
Changing Performance Styles of Twentieth Century Ashkenazi Cantorial Recitatives
Amit Klein (Hebrew University)
Eastern European chazanut [hazzanut] is a form of art which has developed gradually since the mid-eighteenth century and reached a certain peak in the first half of the twentieth century. Eastern European cantors were brought up in the Orthodox tradition, some of them also in the Chasidic tradition, and their cantorial music stems from these musical legacies... more >>
The Subversive Songs of Bossa Nova: Tom Jobim in the Era of Censorship
Irna Priore (University of North Carolina) and Chris Stover (New School for Jazz and Contemporary Music)
Bossa nova flourished in Brazil at the end of the 1950s. This was a time of rapid development and economic prosperity in the country, following President Jucelino Kubitschek’s 1956 proclamation of “fifty years of progress in five,” but after the 1964 coup d’état, when General Humberto Castello Branco’s military regime took control of Brazil... more >>
Response to Mirelman: Orality and Aristoxenus; Pedagogy and Practice
Jay Rahn (York University)
On Not Losing Heart: A Response to Savage and Brown’s “Toward a New Comparative Musicology”
David Clarke (Newcastle University)
Toward a New Comparative Musicology: Some Comments on the Paper by Savage and Brown
Victor Grauer
Let It Be Called “Comparative Ethnomusicology”
David Locke (Tufts University)


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