Cultural Mapping and Musical Diversity
1st Edition
Will be published approx. on 14. February 2020
Book
Hardback
334 pages
978-1-78179-758-7 (ISBN)
Description
‘Cultural mapping’ has become a central keyword in the UNESCO strategy to protect natural and world cultural heritage, including music traditions. As a tool to increase the awareness of cultural diversity it transforms the concept of intangible cultural heritage to visible items by establishing multi-dimensional profiles of cultures and communities. Cultural mapping has been used as a resource for a variety of purposes as broad as the analysis of conflict points and peace building, adaptation to climate change, sustainability management, as well as heritage debates and management. Music has been playing a significant role in each of these aspects. As this theme has rarely been explored within ethnomusicology, this collection approaches the topic of cultural mapping from four different thematic perspectives: The book starts out with historical and methodological reflections on cultural mapping in ethnomusicology, followed by an exploration on possible relation between nature/ landscape (and definition of such) and music/ sound. How exactly is landscape interrelated with music – and identified (and vice versa)? The second half focuses more specifically on the UNESCO Intangible Cultural Heritage. The articles not only address the broader political framework, but also thematic and geographic case studies of Intangible Cultural Heritage and music, as well as the pro of UNESCO’s endeavours.
More details
Series
Language
English
Place of publication
London
United Kingdom
Target group
College/higher education
Illustrations
52 figures
Dimensions
Height: 240 mm
Width: 161 mm
Thickness: 23 mm
Weight
666 gr
ISBN-13
978-1-78179-758-7 (9781781797587)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Persons
Britta Sweers is Professor of Cultural Anthropology of Music at the Institute of Musicology (since 2009) and Director of the Center for Global Studies (since 2015) at the University of Bern (Switzerland). Sarah M. Ross is professor of Jewish music studies and director of the European Center for Jewish Music at the Hannover University of Music, Drama, and Media, Germany.
Content
Preface and Acknowledgements Introduction: Cultural Mapping and Musical Diversity Britta Sweers and Sarah M. Ross PART I: The Method of Cultural Mapping Introduction: Britta Sweers Chapter 1 Kulturkreise, Culture Areas, and Chronotopes: Old Concepts Reconsidered for the Mapping of Music Cultures Today Marcello Sorce Keller, Independent Scholar Chapter 2 Mancunian Irish: Identity, Cultural Intimacy, and Musical Hybridization-Urban Ethnomusicology and Cultural Mapping Svend Kjeldsen, University of Limerick Chapter 3 Dying Language, Multi-Identity, and Music for the Young Pekka Suutari, University of Eastern Finland Chapter 4 Mapping "Inconvenient" Music Heritage Ana Hofman, Slovenian Academy of Sciences and Arts PART II: Cultural Landscape and Music Introduction: Britta Sweers Chapter 5 Landscapes and Flower Songs: Proposing the Hypothesis of Agriculturalist-Pastoralist Coalescence as the Origin of Hua'er Festivals Lukas Park, Independent Scholar Chapter 6 Climate and Environment in Idelsohn's History of Hebrew Music Shai Burstyn, Tel Aviv University (retired) Chapter 7 Dancing the Landscape: Music, Place, Collective Memory, and Identity in a Highland Bolivia Pilgrimage Thomas Solomon, University of Bergen Chapter 8 "The Space of the Gong Culture in the Central Highlands of Vietnam": Old and New Directions in Ede Traditional Music Vincenzo della Ratta, Centre Asie du Sud Est PART III: The Politics of Intangible Cultural Heritage Introduction: Sarah M. Ross Chapter 9 Historical Voices Reloaded: Rethinking Archival Responsibilities in Relation to Intangible Cultural Heritage Gerda Lechleitner, Austrian Academy of Sciences Chapter 10 Intangible Cultural Heritage and Policy Making in Poland Marzanna Poplawska, University of Wroclaw Chapter 11 Mapping and Representing Musical Diversity in Switzerland: The Role of Artists, Ethnomusicologists, and Officials Marc-Antoine Camp (Lucerne University of Applied Sciences and Arts), Brigitte Bachmann-Geiser (University of Music, Vienna), David Vitali (Federal Office of Culture, Switzerland), Dieter Ringli (Lucerne University of Applied Sciences and Arts), Patricia Jaggi (Lucerne University of Applied Sciences and Arts) Chapter 12 Tracing the Minhag Ashkenaz in Swiss Synagogue Music: Advocates of Intangible Cultural Heritage Meet Agents of Cultural Sustainability Sarah M. Ross PART IV: Intangible Cultural Heritage: Case Studies Introduction: Sarah M. Ross Chapter 13 Flamenco for Andalusia, Flamenco for Humanity: Regionalization and Intangible Cultural Heritage in Spain Matthew Machin-Autenrieth, University of Cambridge Chapter 14 Questioning Safeguarding: Heritage and Capabilities at Jemaa el Fnaa Square, Morocco Thomas Beardslee, Independent Scholar Chapter 15 The Verbunk under the Impact of World Fame Zuzana Jurkova, Charles University Prague