Magowan, Fiona: Melodies of Mourning. Music and Emotion in Northern Australia

Treloyn, Sally

doi:10.5771/0257-9774-2009-1-239

Cited by 3 publications

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“…Through their dedication to tamburitza practice, they have been fundamental in its development and sustainability, as shown by their engagement in training young performers, popularizing playing tamburitza instruments, improving the music education system, expanding technical and interpretive abilities of musicians, and composing new works for tamburitza instruments. It is certainly not possible to talk about male and female teaching methods here, as is the case in some other practices in the world (Magowan 2007;Rice 1994;Wrazen 2010), but the significant role of women in cross-generational knowledge transfer is evident as well as gender-oriented collaboration within women's tamburitza orchestras.…”

Section: Discussionmentioning

confidence: 99%

Women's Leadership in Music

2023

Musik Und Klangkultur

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Various modes of women's contemporary cultural, social and political leadership can be found in music. Informed by different histories and culturally bound social mores but also by a comparative perspective, the contributors of this volume ask what can be considered leadership in culture from women's point of view. They deconstruct the notion of leadership as corporative and career-related modes of success by showing how women's agency, power and negotiation in and through music can and should be considered as empowering, transformative and role-modeling. By interweaving several disciplinary perspectives - from ethnomusicology, musicology and cultural management to sociology and anthropology - this volume aims to substantially contribute to the study of women's leadership.

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Section: Discussionmentioning

confidence: 99%

Women's Leadership in Music

2023

Musik Und Klangkultur

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“…A distinct phenomenological turn within Yolŋu ethnomusicology, from the 1990s onwards, demonstrates an attempt to do more than just describe the Yolŋu world to outsiders. Scholars like Aaron Corn, Neparŋa Gumbula, Brian Gumbula‐Garawirrtja, Franca Tamisari (1998), Fiona Magowan (2007), and the Gay'wu Group of Women (2019) have approached manikay first and foremost as an event in which singing shapes engagement with ecology and place 7 . Their writing seeks to convey the many entwined connections of people, place, story, and history that animate Yolŋu performance traditions.…”

Section: Shaping Perceptions Through Wordsmentioning

confidence: 99%

The Wind Is Always Blowing: Generative Crosscurrents of Ethnographic Dialogue in Australia

Curkpatrick,

Wilfred

2024

Oceania

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Live conversations and writing play an important role in ethnographic research that seeks to develop understanding across cultural differences. Both forms of communication need not remain distinct: written dialogue can develop critical thought while foregrounding the shared contexts and relational impetuses of communication across cultures. Set against the background of recent styles in ethnographic writing about and with Yolŋu people, this article extends from conversations about wata (wind), exploring collaborative practices (music performance and teaching) and approaches to writing ethnography that respond to a core quality of wind as a medium that connects. Wata is a significant theme within manikay (public ceremonial song) that connects Wägilak with their ancestral lands, even as it blows through the country of other groups, allowing new relationships and understandings to be formed. Giving rise to concerns of connection, difference, and movement, wata is a significant theme for considering the ways narrative traditions can shape relationality and give impetus to intellectual inquiry.

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Women's Role in Sustaining the Practice of Tamburitza Instruments in Vojvodina

Ranković¹

2023

Musik Und Klangkultur

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In Vojvodina, the autonomous northern province of the Republic of Serbia, the collective (orchestral) playing of tambura instruments (of varying sizes and tunings) represents a particular style of the region sound mapping. According to literature, this practice has developed from the nineteenth century till today through multiple forms and in informal and formal contexts. The start of the twentieth century led to changes in the creation of the corpus of tambura instruments and the increase of strings for tuning. An intensive development of music-making on these instruments influenced the transformation of performance paradigms through the roles of specific orchestral instruments, playing techniques, interpretations, repertoires and styles. Since the beginning of collective tambura performances, women have participated primarily as members of the orchestra, while their role over the past few decades has shifted significantly. This chapter investigates the contemporary practice in which women have a more significant position in its sustainability, considering their participation in the process of formal and informal education, performance and creation of new compositions. Female tambura players are students, professors, musicians, conductors and composers and they visibly contributing to the survival of traditional types of tambura music and the development of new interpretational and genre frameworks. In addition to individual female tambutitza players' activities, the creation of women's tambura orchestras during the twentieth century had special influence on the sustainability of tambura music.

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Magowan, Fiona: Melodies of Mourning. Music and Emotion in Northern Australia

Cited by 3 publications

References 0 publications

Women's Leadership in Music

Women's Leadership in Music

The Wind Is Always Blowing: Generative Crosscurrents of Ethnographic Dialogue in Australia

Women's Role in Sustaining the Practice of Tamburitza Instruments in Vojvodina

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