Aspects of 'Are'are Musical Theory

Zemp, Hugo; Malkus, Vida

doi:10.2307/851336

Cited by 44 publications

(10 citation statements)

References 2 publications

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“…In this article, I have reported the information gathered from the Khmer musicians during my fieldwork. These data have contributed to giving my research the emic approach followed by some scholars (Feld 1982;Kartomi 1990;Zemp 1979) which reflects how musicians conceive and talk about their music. When presenting their music to outsiders, Khmer musicians list ensemble types: krom phleng pin piət (classical ensemble), krom phleng mahori (entertainment music), krom phleng arak (music for spirits), krom phleng kar (wedding music), krom phleng samay (modern/pop music).…”

Section: Some Reflections On the Concept Of Genres In Ethnomusicologymentioning

confidence: 81%

The Interrelations of Genre in Traditional Cambodian Music and Theatre

Billeri

2022

EJM

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This article examines the interrelation and adaptation of musical and extramusical song features among the Cambodian genres of phleng kar (wedding music), phleng arak (music for arak spirits), lkhaon yiikee and lkhaon bassac (sung-danced theatre genres). It aims to discuss the concept of genre classification from the emic perspective of the Cambodian practitioners showing how they talk and think about their music; and to explore the kinds of culture-specific markers employed by Khmer musicians to distinguish their genres. Through selected case studies I show the interrelation of songs sharing the same title with different tunes; songs with same title and similar tunes; and songs with a different title but similar tunes. To these case studies I then applied music transcriptions and analysed musical and extramusical parameters to consider the exchange of musical features and performance analysis to consider the ritual context. This study shows how classification and categorization of genres, even when genres overlap, reflect sociocultural aspects and are attached to a set of musical and extramusical components.

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Section: Some Reflections On the Concept Of Genres In Ethnomusicologymentioning

confidence: 81%

The Interrelations of Genre in Traditional Cambodian Music and Theatre

Billeri

2022

EJM

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“…He suggested that talk about music is a fact of life, worth turning into a study object in its own right, rather than a continual cause of musicological embarassment. He argued, alongside Hugo Zemp (1979Zemp ( ) and me (1981Zemp ( , 1982, that ways people talk about music can be a significant datum of concepts and musical theory, and can be studied systematically. He pursued some ways in which talk about music is a window out to metaphoric processes, and to synaesthesia, and therefore a potential way to find out-through the verbal mode-a-certain parameters of the musical mode often stressed by Seeger's notion of music as the communication of "world view as the feeling of reality.…”

Section: Speech About Musicmentioning

confidence: 98%

Communication, Music, and Speech about Music

Feld¹

1984

Yearbook for Traditional Music

172

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Music has a fundamentally social life. It is made to be consumed—practically, intellectually, individually, communally—and it is consumed as symbolic entity. By “consumed” I mean socially interpreted as meaningfully structured, produced, performed, and displayed by varieties of prepared, invested, or otherwise historically situated actors. How does this happen? What does it mean? How can one know about it? These questions focus on the nature of the music communication process, and to rethink them I turn back to the question posed often by Charles Seeger: what does music communicate? To answer he also needed to ask: what does speech about music communicate? Through diagrams and dense prose, Seeger (1977:16–44) argued that to address the issue of what music communicates requires specifying what it could not communicate. The logical preoccupation with differences between the speech and music modes led to the notion that speech is the communication of “world view as the intellection of reality” while music is communication of “world view as the feeling of reality” (ibid.).

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“…Three major lines of empirical research can be distinguished concerning the conceptualization and perception of music: anthropological approaches (Zemp & Malkus 1979;Feld 1981;Ashley 2004), corpus based studies relying mostly on Conceptual Metaphor Theory (Adlington 2003;Aksnes 2002;Brower 2000;Cox 1999;Johnson & Larson 2003;Saslaw 1996;Spitzer 2004;Zbikowski 2002), and psychological research (Cabrera & Morimoto 2007;Lidji et al 2007;Révész 1913;Roffler & Buttler 1968;Rusconi et al 2006;Zuckerkandl 1969) including experimental work investigating the connection of music perception to other human cognitive abilities.…”

Section: Theoretical Framework and Related Researchmentioning

confidence: 99%

The embodied and the cultural in the conceptualization of pitch space in Croatian

Žuvela¹,

Anić
²

2019

Jezikoslovlje (Online)

3
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Most conceptual metaphors that conceptualize musical pitch rely heavily on human perception, images and experience structured through spatial and orientation image schemas such as the schema of verticality. The paper analyses conceptual metaphors that structure pitch relations in terms of vertical space, thickness and size as they appear in the Croatian musical terminology. The image schemas of verticality and size are analysed within the conceptual metaphors pitch relations are relations in vertical space and pitch relations are relations in size in order to define to what extent their motivation is embodied and universal, and what can be attributed to cross-cultural and cross-linguistic influences present in the creation and understanding of music terminology in Croatia.

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Aspects of 'Are'are Musical Theory

Cited by 44 publications

References 2 publications

The Interrelations of Genre in Traditional Cambodian Music and Theatre

The Interrelations of Genre in Traditional Cambodian Music and Theatre

Communication, Music, and Speech about Music

The embodied and the cultural in the conceptualization of pitch space in Croatian

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