ISSN 2158-5296
 
 
 
Volume 3, No. 2 (2014)
 
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 >>
 
 
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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