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E-grāmata: Audiovisual Ethnomusicology: Filming musical cultures

  • Formāts: PDF+DRM
  • Izdošanas datums: 22-Jun-2020
  • Izdevniecība: Peter Lang AG, Internationaler Verlag der Wissenschaften
  • Valoda: eng
  • ISBN-13: 9783034340908
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  • Formāts: PDF+DRM
  • Izdošanas datums: 22-Jun-2020
  • Izdevniecība: Peter Lang AG, Internationaler Verlag der Wissenschaften
  • Valoda: eng
  • ISBN-13: 9783034340908
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"The growing interest in the visual dimension of musical performance practice and the use of film as a medium of presentation and research in Ethnomusicology is related to the increasingly wide use of visual ethnographic methods of research and representation and to the technological development of modern visual tools used today in field research. Film can document both the aural and visual dimensions of a musical performance and has the capability to represent the lives of musicians in their physical and temporal context, to analyse musical structures and to have an ethnographic approach of musical performance. All features are related to contextualization that can best be communicated and represented by audiovisual means. Audiovisual Ethnomusicology, whose subject is the ethnomusicological film, is being con-figured as a new branch of Ethnomusicology. The main aim of this book is to outline its history, the diverse theoretical and methodological approaches adopted by the ethno-film-makers, as well as the different ways to use the visual medium in the 're-presentation' of musical cultures" --Provided by publisher.

The growing interest in the visual dimension of musical performance practice and the use of film as a medium of presentation and research in Ethnomusicology is related to the increasingly wide use of visual ethnographic methods of research and representation and to the technological development of modern visual tools used today in field research. Film can document both the aural and visual dimensions of a musical performance and has the capability to represent the lives of musicians in their physical and temporal context, to analyse musical structures and to have an ethnographic approach of musical performance. All features are related to contextualization that can best be communicated and represented by audiovisual means.

Audiovisual Ethnomusicology, whose subject is the ethnomusicological film, is being con-figured as a new branch of Ethnomusicology. The main aim of this book is to outline its history, the diverse theoretical and methodological approaches adopted by the ethno-film-makers, as well as the different ways to use the visual medium in the “re-presentation” of musical cultures.

Preface to Audiovisual Ethnomusicology 15(4)
Timothy Rice
I Framing Sounds. The Audiovisual Representation of Music
19(22)
II The Ethnomusicological Film
41(108)
II.1 Research film and documentary film
41(3)
II.2 The world-music film and the ethnomusicological film
44(3)
II.3 Typology and modes of filmic representation of music
47(16)
II.3.a Expository
50(3)
II.3.b Observational
53(4)
II.3.c Impressionistic
57(5)
II.3.d Reflexive
62(1)
II.4 Taxonomy of filmic content
63(11)
II.4.a Thematic world-music/ethnomusicological film
64(7)
II.4.b Organological world-music/ethnomusicological film
71(1)
II.4.c Biographical world-music/ethnomusicological film
72(2)
II.5 Fiction, docu-fiction, ethno-clip and experimental documentary
74(14)
II.6 Ethics and representation in the ethnomusicological film
88(18)
II.7 The ethnomusicologist, the filmmaker and the ethno-filmmaker
106(10)
II.8 Uses and functions of the ethnomusicological film
116(5)
II.8.a Scientific documentaries: The ethnomusicological film as a research tool
116(1)
II.8.b Educational documentaries: The ethnomusicological film with didactic purposes
117(3)
II.8.c Informative documentaries: The ethnomusicological film oriented to dissemination
120(1)
II.9 Audiovisuals as sound footprints
121(13)
II.9.a Audiovisual media as a tool for preservation of musical systems and musical cultures
127(1)
II.9.b Audiovisual media as a means of cultural transmission
128(3)
II.9.c Audiovisual media as a record of musical change
131(2)
II.9.d Audiovisual media as a multimedia tool in museums and exhibitions
133(1)
II.10 Audiovisual archives: preserving sounding images
134(7)
II.11 Technological developments of audiovisual recording in field work
141(8)
III The Styles of the Ethnomusicological Film
149(32)
III.1 The IWF style
149(4)
III.2 The CNRS style
153(9)
III.3 The NFTS style
162(6)
III.4 Hugo Zemp
168(13)
IV Filming Sounds around the World
181(62)
IV.1 Filming music in sub-Saharan Africa
181(22)
IV.2 Filming music in India
203(5)
IV.3 Filming music in China
208(11)
IV.4 Filming music in the United States
219(6)
IV.5 Filming music in Latin America
225(8)
IV.6 Filming music in Australia and Papua New Guinea
233(4)
IV.7 Filming music in Southern Europe (Italy, Spain and Portugal)
237(6)
V Analysis of Sounding Images
243(24)
V.1 Visualizing music
243(2)
V.2 Kubik and the frame-by-frame transcription
245(8)
V.3 Qureshi and the videographic method
253(1)
V.4 Zemp and the animation techniques
254(4)
V.5 Lomax and the choreometrics project
258(9)
VI Filming Music in Action
267(38)
VI.1 Filming musical instruments: an ethno-organological comparative study
268(11)
VI.2 Filming the musical performance: the processes of musical interaction
279(10)
VI.3 Filming the transmission of musical knowledge: the oral-aural-visual communication process
289(16)
VII Music on Screen
305(52)
VII.1 The audiovisual representation of music on big and small screens
305(11)
VII.2 Broadcast media and World Music
316(6)
VII.3 The routes of music: musical road movies and travelogues
322(6)
VII.4 Sounds of memory: the reunion-style music documentaries
328(2)
VII.5 Visualizing expats' music: the transnational music documentaries
330(8)
VII.6 Back home: the "repatriation" music documentaries
338(2)
VII.7 "Music is the weapon": the politically engaged music documentaries
340(8)
VII.8 "Music for social change": the socially engaged music documentaries
348(2)
VII.9 The filmed ethnomusicologists
350(7)
Conclusions 357(2)
Bibliography 359(26)
Filmography 385(52)
List of Figures 437(8)
Appendix: Ethnomusicological films listed by content categories 445
Leonardo DAmico is an adjunct associate professor of Ethnomusicology at Yunnan Univer-sity (China). He holds a PhD in Musicology from the University of Valladolid (Spain) with a dissertation on Visual Ethnomusicology. He taught Ethnomusicology and Anthropology of Music at the Universities of Siena and Ferrara, and the Conservatories of Brescia and Mantua (Italy). He is the director of the Ethnomusicological Film Festival in Florence and he is a co-founder and chair of the ICTM study group on Audiovisual Ethnomusicology. His research interests include African and Afro-American music, ethnic minorities music in China and filmmaking in Ethnomusicology.



Audiovisual Ethnomusicology is a revelation, an inspiration and an important new story about what ethnomusicologists do and therefore what ethnomusicology is. (Timothy Rice)
Biežāk uzdotie jautājumi par e-grāmatām Biežāk uzdotie jautājumi par e-grāmatām
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