The Story of Life in Music: Autobiographical Songs of the Nganasans

Ojamaa, Triinu

doi:10.7592/fejf2002.21.songs

Cited by 5 publications

(8 citation statements)

References 2 publications

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“…23 This term originates from writings by Merriam (1964, p. 83). In English language literature, the term has been used in reference to "private songs" of North American Indians, e.g., Sioux (Austin, 1930), who, along with Canadian indigenous population, share the institute of PS with Siberian ethnoses (Ojamaa, 2002). In Russian research literature the most common equivalent term is "lichnaya pesnia."…”

Section: Personal Song (Ps) As a Form Of Timbre-based Vocal Musicmentioning

confidence: 99%

“…In this way a PS maintains personal integrity, reminding the singer of an anchorstate to return to after an emotional perturbation. This is most obvious in lengthy "autobiographical" PSs, where singers list dramatic events of their life (Ojamaa, 2002). A PS is replaced if the return to the anchor-state somehow becomes impossible.…”

Section: Example-9mentioning

confidence: 99%

“…Structurally, a PS consists of "leitmotif " and "leittimbre" 35 -a reused motif and timbral quality. One family's PS can be distinguished from another's by its timbral style (Ojamaa, 2002). Musical elements that stay intact in all uses of a PS represent the PS's owner (musical "foreground").…”

Section: Example-14mentioning

confidence: 99%

“…PS users identify themes intuitively, without conscious differentiation between melody and lyrics, but nevertheless associate musical sameness with personality, and verbal diversity with environmental circumstances (Ojamaa and Ross, 2004). Worth noting is that altering a PS's melodic contour constitutes a change of ownership between family members, but altering a PS's words does not (Ojamaa, 2002). A person sings one's PS without words when no contextual reference is needed, only a personal reference, such as missing a dear relative.…”

Section: Example-14mentioning

confidence: 99%

“…The tradition of PS retains its social significance (blue names) only on the territories of modern Russian Federation. Outside of Russia, this tradition survives amongst Amerindian tribes of the northeastern US and Canada (Ojamaa, 2002) (not marked on this map). This tradition existed amongst Ainu (Sheikin, 1996;Novik, 1999).…”

Section: Animistic Roots Of Timbre-based Musicmentioning

confidence: 99%

See 4 more Smart Citations

The Overlooked Tradition of “Personal Music” and Its Place in the Evolution of Music

Nikolsky¹,

Alekseyev²,

Alekseev

et al. 2020

Front. Psychol.

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This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to "frequency-based" music. Unfortunately, the current scientific research into music has been skewed almost entirely in favor of the frequency-based music prevalent in the West. Subsequently, whenever samples of timbre-based music attract the attention of Western researchers, these are usually interpreted as "defective" implementations of frequency-based music. The presence of discrete pitch is often regarded as the structural criterion that distinguishes music from non-music. We would like to present evidence to the contrary-in support of the existence of indigenous music systems based on the discretization and patterning of aspects of timbre, rather than pitch. This evidence comes mainly from extensive ethnographic research systematically conducted in eastern European and Asian parts of Russia from the 1890s. It involved the efforts of thousands of specialists and was coordinated by dozens of research institutions, and it has included not just ethnomusicology but linguistics, philology, organology, archaeology, anthropology, geography, and religious, and social studies. Much of the data has not been translated into Western languages. Although some Soviet-era publications were tainted by Marxist ideology, many researchers strove to provide accurate information (despite at times having been prosecuted for their work), and post-1990 research undertook a substantial revision of ideologically compromised concepts. Timbre-based tonal organization (TO) differs from that based on frequency in its personal orientation: musicking here occurs primarily for oneself and/or for close relatives/friends. Collective music-making is rare and exceptional. The foundation of timbre-based music seems to have vocal roots and rests on "personal song"-a system of personal identification through individualized patterns of rhythm, timbre, and pitch contour, utilized like a "human voice"-whose sound enables

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Section: Personal Song (Ps) As a Form Of Timbre-based Vocal Musicmentioning

confidence: 99%

Section: Example-9mentioning

confidence: 99%

Section: Example-14mentioning

confidence: 99%

Section: Example-14mentioning

confidence: 99%

Section: Animistic Roots Of Timbre-based Musicmentioning

confidence: 99%

See 3 more Smart Citations

The Overlooked Tradition of “Personal Music” and Its Place in the Evolution of Music

Nikolsky¹,

Alekseyev²,

Alekseev

et al. 2020

Front. Psychol.

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The birth of a Soviet ‘fourth cinema’ on prime time television: Iurii Rytkheu andThe Most Beautiful Ships

Damiens

2020

Studies in Russian and Soviet Cinema

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Henno Rajandi’s Theory of Language and His Practice of Translation

Lange

2013

Interlitteraria

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The focus of the article is on the translating style of Henno Rajandi , a translator who has been an embodiment of a masterful translator for the past fifty years. Rajandi, an academic linguist and also a short-time lecturer of Western literatures at the University of Tartu, was well equipped to conceptualize his practices. He has left us with statements about the perceived social significance of translation, and with his general theory of language together with suggestions about its use in communication. Hypothesizing that the theory should bear on his practice of translation, I interpret Rajandi's translation of Pride and Prejudice in the light of his linguistic theory. For Rajandi language is a network of paradigmatically related elements of meaning-form correspondences selected depending on their syntagmatic value. For the addresser all the elements of the system are formal and the meaning is given, for the addressee the elements are all meaningful and the form is given. He compares an element to a coin stamped by different matrices and dependent on the different neurocognitive environments of the speaker and the listener. As his conceptualisation emphasizes the relative nature of communication, his translation has to be acknowledged as a first person performance.

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The Story of Life in Music: Autobiographical Songs of the Nganasans

Cited by 5 publications

References 2 publications

The Overlooked Tradition of “Personal Music” and Its Place in the Evolution of Music

The Overlooked Tradition of “Personal Music” and Its Place in the Evolution of Music

The birth of a Soviet ‘fourth cinema’ on prime time television: Iurii Rytkheu andThe Most Beautiful Ships

Henno Rajandi’s Theory of Language and His Practice of Translation

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