'Are'are Classification of Musical Types and Instruments

Zemp, Hugo

doi:10.2307/851365

Cited by 35 publications

(14 citation statements)

References 2 publications

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“…Jacques Maquet has argued that the aesthetic response is a form of symbolization, which has the basic feature of consistency, but also entails contemplation, "a state of awareness toward the object" (Maquet 1971:5- Feld 1982;Roseman 1984;Zemp 1979Zemp , 1978. Mourning can be aestheticized by means of consistency and contemplation.…”

Section: Symbolization Of Loss In Gypsy Ndtamentioning

confidence: 99%

"What Was That Conquering Magic...": The Power of Discontinuity in Hungarian Gypsy Nota

Lange¹

1997

Ethnomusicology

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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. University of Illinois Press and Society for Ethnomusicology are collaborating with JSTOR to digitize, preserve and extend access to Ethnomusicology. D iscontinuity is a pervasive stylistic feature in Gypsy n6ta (pl. n6tdk), the popular music of Hungarian-speaking Rom (Gypsies).' Like most music made by Rom in Europe, Gypsy n6ta is shaped within a hegemonic context. Unlike several genres for which Rom are renowned, Gypsy n6ta is not oriented towards outsiders. Gypsy n6ta style has correspondences with a series of disruptions to Hungarian Rom life in this century. It works by drawing upon Rom's experience of these disruptions in terms of their affective investments in the extended family.Gypsy n6ta is one of a number of contemporary musical constellations which do not issue from a clear subject position. While the syncretism or conscious resignification in some locally-oriented popular musics may be tactics for countering dominant modes of signification (Hebdige 1979; Manuel 1994; Slobin 1992), Veit Erlmann has argued that the formulations of musical style as effective resistance to worldwide cultural "grey-out" are tautological (1996). The meanings of some contemporary musical genres are not consistent; cassette cultures, for example, give expression to fragmented religious and ethnic extremism (Manuel 1993) or to an inarticulate evocation of marginality (Stokes 1992). Gypsy n6ta, like these latter musical responses, is characterized by vagueness and irregularity in its access to experiences of a non-dominant character.The performers and audience for Gypsy n6ta are somewhat amorphously constituted. They belong to a large proportion of the Rom population which scholars and social policy-makers in Eastern Europe consider to be "assimilated." In many world regions, Rom maintain tangible ethnic boundaries through use of the Romani language, distinctive dress styles, and beliefs that non-Rom are polluted (Silverman 1988:263; Erdds 1960; ? 1997 by the Board of Trustees of the University of Illinois 517 This content downloaded from 128.235.251.160 on Sat, 13 Dec 2014 05:15:10 AM All use subject to JSTOR Terms and Conditions 518 Ethnomusicology, Fall 1997 Sutherland 1992); these Rom are also the primary object of press reports and ethnographic research. "Assimilated" Rom speak the mainstream language, only using a few Romani terms in their speech. They dress similarly to Hungarians, and do not have strong pollution beliefs. In Hungary, this group comprises some 71% of the overall Rom population. They have several designations, including "Hungarian Gypsies" or Romungro (pl. Romungre). There are two other main Rom ethnic groups in Hungary, the Boyash Rom and the Vlach Rom. These groups see...

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Section: Symbolization Of Loss In Gypsy Ndtamentioning

confidence: 99%

"What Was That Conquering Magic...": The Power of Discontinuity in Hungarian Gypsy Nota

Lange¹

1997

Ethnomusicology

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“…Hemdon ja McLeod 1981: 137 -139. ) Musiikkia koskevan diskurssin analysoinnin avulla tutkijat ovat luoneet formaaleja kuvauksia sekä kansan omaamista musiikin luokitusja käsitejärjestelmistä (Zemp 1978) että yksilön käsitteiden luokitusjäIjestelmistä (Pekkilä 1983).…”

Section: "Kognitiivinen Etnomusikologia"unclassified

Musiikkikulttuurin kognitiivinen viitekehys

Moisala¹

1988

EVK

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“…However, since the publication of landmark studies by Zemp (1978Zemp ( , 1979, Robertson (1979), and Rice (1979), to name but a few, ethnomusicologists have become increasingly aware of the danger in using folk classifications "as the total expression, the codified expression of folk knowledge" (Baumann 1981:62). However, since the publication of landmark studies by Zemp (1978Zemp ( , 1979, Robertson (1979), and Rice (1979), to name but a few, ethnomusicologists have become increasingly aware of the danger in using folk classifications "as the total expression, the codified expression of folk knowledge" (Baumann 1981:62).…”

Section: Ful'be Conceptsmentioning

confidence: 99%

Model, Variation and Performance. Ful'be Praise-Song in Northern Cameroon

Erlmann¹

1985

Yearbook for Traditional Music

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This paper discusses the role of techniques and concepts roughly corresponding to the Western notion of “improvisation” in the cognitive domain of sung mantoore (praise), i.e., praise-songs, among the Ful'be (engl. Fulani, fr. peul) of Diamaré in North Cameroon. Fieldwork in Diamaré was carried out between June 1975 and October 1976 in thirty-two towns and villages of the region of Maroua, the administrative and commercial centre of the Département du Diamaré with 70,000 inhabitants. Fourteen examples, drawn from approximately 400 praise-songs recorded during the course of the study, have been selected for analysis.

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'Are'are Classification of Musical Types and Instruments

Cited by 35 publications

References 2 publications

"What Was That Conquering Magic...": The Power of Discontinuity in Hungarian Gypsy Nota

"What Was That Conquering Magic...": The Power of Discontinuity in Hungarian Gypsy Nota

Musiikkikulttuurin kognitiivinen viitekehys

Model, Variation and Performance. Ful'be Praise-Song in Northern Cameroon

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