Ethnic Music on Records: A Discography of Ethnic Recordings Produced in the United States, 1893 to 1942

Varlet, Philippe; Spottswood, Richard K.

doi:10.2307/851977

Cited by 14 publications

(2 citation statements)

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“…pri podjetju Victor leta 1928 poudarjali, da so »eni najboljših kupcev gramofonskih plošč priseljenci« (Gronow 1982: 34). Slovenski priseljenci v ZDA so podobno kot izseljenci drugih narodov očitno predstavljali dobro tržišče, saj že samo iz pregleda tistega razdelka v diskografiji Ethnic Music on Records, ki predstavlja popis slovenskih posnetkov, nastalih v ZDA do leta 1942 (Spottswood 1990(Spottswood : 1021(Spottswood -1043, ugotovimo, da je v njem skoraj 600 posnetkov slovenske glasbe, ki jih izvajajo številni slovenski izvajalci. Med posnetki so predvsem različne priredbe ljudskih pesmi in izvedbe ljudskih plesnih viž, pa tudi druge glasbene zvrsti.…”

Section: Posnetki Pevcev Adrijaunclassified

Gramophone Serving Sacred Music?

Kunej

2015

MusAn

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Like most activities in the gramophone industry, recording sacred music appears to have been linked with trade and profit. Through the example of gramophone records released by the Ljubljana Cathedral Choir and the Adria Singers from the USA, one can see that favourable market results depended upon a number of factors. By comparing the popularity of recordings of these two choirs, with the number of surviving records, one can conclude that the sale of sacred music lagged behind that of secular.

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Section: Posnetki Pevcev Adrijaunclassified

Gramophone Serving Sacred Music?

Kunej

2015

MusAn

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“…Introduction.A. Background Ethnic music encompasses a rich tapestry of sonic expressions deeply rooted in the cultural and traditional practices of specific communities [1] . Unlike mainstream or popular music, which often reflects broader and more global influences, ethnic music is intimately tied to the identity, history, and heritage of particular ethnic groups.…”

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Cultural Harmonies: Exploring Compositional Techniques and Cultural Fusion in Guizhou Ethnic Minority Music

Huang

2024

PIJ

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This study investigates compositional techniques within Guizhou Ethnic Minority Music, focusing on the transformative influence of cultural fusion. Through interviews with local musicians from the Miao, Dong, Yi, and Shui ethnic groups, the research identifies recurring elements and variations in musical practices. Cultural fusion emerges as a dynamic force shaping compositional creativity, where deliberate blending of traditional instruments, melodic motifs, and rhythmic patterns transcends individual ethnic styles. The impact on the listener's perception reveals enhanced accessibility and relatability, attracting a diverse audience. The dual role of cultural fusion is evident—preserving cultural identity while catalyzing musical evolution. As musicians adapt tradition to contemporary contexts, Guizhou Ethnic Minority Music becomes a bridge between heritage and innovation. The study contributes to broader discussions on global music by highlighting the power of cultural fusion in fostering cross-cultural understanding. Guizhou's musicians emerge as cultural ambassadors, shaping a narrative that transcends geographic boundaries, inviting scholars and enthusiasts to explore the intricate interplay of tradition, innovation, and cultural exchange in the musical realm.

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Danza antillana, conjuntos militares, nacionalismo musical e identidad dominicana: Retomando los pasos perdidos del merengue

Díaz¹

2008

Latin American Music Review

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Ethnic Music on Records: A Discography of Ethnic Recordings Produced in the United States, 1893 to 1942

Cited by 14 publications

References 0 publications

Gramophone Serving Sacred Music?

Gramophone Serving Sacred Music?

Cultural Harmonies: Exploring Compositional Techniques and Cultural Fusion in Guizhou Ethnic Minority Music

Danza antillana, conjuntos militares, nacionalismo musical e identidad dominicana: Retomando los pasos perdidos del merengue

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