Gisa Jähnichen
Prof. Dr. (Ecomusicology, Performance Practices of Southeast Asia) at Shanghai Conservatory of Music, Chair of the ICTMD Study Group on Musical Instruments, Secretary of the IASA T&E Committee, also teaching at Guangxi University of the Arts, Vienna University, Humboldt University Berlin, and as consultant at the National Library of Laos.
You can contact me at any time for further details via [email protected].
Phone: +49304292829
You can contact me at any time for further details via [email protected].
Phone: +49304292829
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Papers by Gisa Jähnichen
who travelled Great Britain and were obviously of extraordinary musicality. Contemporary newspapers were full of praise. However, the notation and memory help used now in local
choirs of the elderly who practice weekly in their community rooms is far different. The
outcome is surprisingly equally praised. At least in the narratives of the choir members and the volunteers, who accompany these activities. Having lived over 8 years in crowded Shanghai neighbourhoods and overcoming endless difficulties in a multi-age and multi-abled group of
people, the author wants to point out the missing understanding of special needs in social entities and suggest a list of ethical questions that may challenge a common musicology and the integration of music therapy as an aid. Finally, the question which overshadows all previous
questions is: For what do we do all that in musicology? For a deeper understanding of oneself.
in the field of music research, used terminology, and priorities in referencing techniques.
The gender perspective includes issues that are highly sensitive among those scholars and cannot be simply broken down into straightforward categories. The author is fully aware of the long journey ahead in order to change certain male-centered or -dominated conventions and thinking patterns.
main routes of the first interconnections leading to current globalization
effects among different locations in the area using the sea as transportation basis. It is very important to not only follow migration routes, but mainly trade routes to understand these first steps. This joint paper is based on intense field and literature research on the given topic and various examples. It is rather describing the historical outline and gives an overview on existing statements. The main focus is the emerging transcendency between people living in this region and their deriving outcomes over a longer period of time.
looked at separately from the larger picture of the Council (ICTM = International Council for Traditional Music) and its development. Since musical instruments were a rather obvious topic of interest that combined all types of more or less substantiated knowledge on diverse peoples, it was fairly easy to establish this study group in the framework of what was then an international organization of professionals in the area of ethnomusicology, a freshly emerging discipline of the humanities at that time after WWII.
Edited by Frank Gunderson, Robert C. Lancefield,
and Bret Woods. New York: Oxford University
Press, 2019. [832 p. ISBN: 978-0-19-065980-6.
£129.50]".
who travelled Great Britain and were obviously of extraordinary musicality. Contemporary newspapers were full of praise. However, the notation and memory help used now in local
choirs of the elderly who practice weekly in their community rooms is far different. The
outcome is surprisingly equally praised. At least in the narratives of the choir members and the volunteers, who accompany these activities. Having lived over 8 years in crowded Shanghai neighbourhoods and overcoming endless difficulties in a multi-age and multi-abled group of
people, the author wants to point out the missing understanding of special needs in social entities and suggest a list of ethical questions that may challenge a common musicology and the integration of music therapy as an aid. Finally, the question which overshadows all previous
questions is: For what do we do all that in musicology? For a deeper understanding of oneself.
in the field of music research, used terminology, and priorities in referencing techniques.
The gender perspective includes issues that are highly sensitive among those scholars and cannot be simply broken down into straightforward categories. The author is fully aware of the long journey ahead in order to change certain male-centered or -dominated conventions and thinking patterns.
main routes of the first interconnections leading to current globalization
effects among different locations in the area using the sea as transportation basis. It is very important to not only follow migration routes, but mainly trade routes to understand these first steps. This joint paper is based on intense field and literature research on the given topic and various examples. It is rather describing the historical outline and gives an overview on existing statements. The main focus is the emerging transcendency between people living in this region and their deriving outcomes over a longer period of time.
looked at separately from the larger picture of the Council (ICTM = International Council for Traditional Music) and its development. Since musical instruments were a rather obvious topic of interest that combined all types of more or less substantiated knowledge on diverse peoples, it was fairly easy to establish this study group in the framework of what was then an international organization of professionals in the area of ethnomusicology, a freshly emerging discipline of the humanities at that time after WWII.
Edited by Frank Gunderson, Robert C. Lancefield,
and Bret Woods. New York: Oxford University
Press, 2019. [832 p. ISBN: 978-0-19-065980-6.
£129.50]".
Most of the poems and stories are rather judgmental and moralizing and use the language of academics. But the poems and stories are true and show in a lively manner how important these unpretentious exchanges were. The poems at presented at the beginning of the book deal with different topics and reflect changes in relationships and goals set by the younger students and the older teacher.
The entire book is to be read in leisure times and is not intended to be analysed. The period of writing spans be-tween the years from 2016 to 2024. During this time, the teacher has changed the workplace and had to suddenly separate from former students.
Working out the poems took often longer than writing the short stories. This is mentioned as a warning. Poems are neither simple in their construction nor easy to produce. However, this small book can be enjoyed by eve-ryone who is able to read.
‘The song, so old’ is the song that came before the proliferation of mass media. The first ghazals that were heard in the Malay world might have been those ghazals performed by Hindustani musicians traveling in Southeast Asia. However, later on, the ghazal’s development was additionally triggered by mass media, with technological progress enhancing change in urban entertainment and introducing new sources of further adaptations. In this context, the second half line of the lyrics mentioned, ‘and yet still famous’, means that despite being old, the song is highly regarded as an art in itself. Malay ghazals are still attractive and musically demanding. They were traditionally not performed for mass appeal, but, rather, for a small knowledgeable audience that valued musical refinement and taste.
The Silk Road was already an important topic in the history of ICTM colloquia. This is the fourth colloquium on "Musical Instruments along the Silk Road" held by Shanghai Conservatory of Music after "Plucked Lutes of the Silk Road: The Interaction of Theory and Practice, From Antiquity to Contemporary Performance" (October 2016), "Double Reeds of the Silk Road: The Interaction of Theory and Practice from Antiquity to Contemporary Performance" (November 2018), and "Drums and Drum Ensembles of the Silk Road" (November 2020).
The programme committee consisted of Xiao Mei (China), Pornprapit Phoasavadi (Thailand), Razia Sultanova (UK/Uzbekistan), Jasmina Talam (Bosnia & Herzegovina), Manfred Bartmann (Austria/Germany), Saule Utegalieva (Kazakhstan), and Gisa Jähnichen (China/Germany). The local arrangement committee for this colloquium consisted of some faculty members and students at Shanghai Conservatory of Music.
This colloquium comprised presentations by 18 scholars from Lithuania, Bosnia Herzegovina, Malta, Thailand, Malaysia, Indonesia, Germany, the United States, New Zealand, Sri Lanka, Canada and China: Ahmad Faudzi Musib, Arthur Borman, Chinthaka P. Meddegoda, Gisa Jähnichen, Palmer Keen, Long Fei, Han Mei, Hans Brandeis, Henry Johnson, Lana Šehović, Jasmina Talam, Xiao Mei, Cui Xiaona, Chu Zhuo, and Xiong Manyu. Five sessions dominated the programme: 1) Musical Bows and Zithers in Europe; 2) Southeast Asian Cases; 3) Regional Studies; 4) The Long Way to the Zithers; 5) The Musics and Ecology of Bowed Zithers in China and East Asia.
One may find contributions of Rastko Jakovljevic, Ahmad Faudzi Musib, Choduraa Tumat and Bernard Kleikamp, Hoh Chung Shih, Huang Wan, Gisa Jähnichen, Liu Xiangkun, Sulwyn Lok and Andrew Filmer, Chinthaka P. Meddegoda, Nishadi Prageetha Meddegoda, Christopher A. Miller, Renzi, Nicola, Timkehet Teffera, Xue Tong, Adilia Yip, and Zhong Wei Cheng. All had to say something very important either about sound manipulation or about musical instruments of humans as part of nature. Or did anyone know before that Jimi Hendrix manipulated his sound effects or how waza trumpets of the Berta are quickly tuned and which instruments accompany a joik in reality? These, and many other questions can be answered through reading the articles compiled in this volume. They celebrate diversity in their own way.
It is the second time, that the editors had to decide to the benefit of longer articles. The entire page number, however, increased. It is highly recommended to read through these longer articles as they are indeed the most updated versions in this regard. The responsibility for statements is nevertheless left with the authors.
After some years of experience, the editors decided to also leave specific emphasizing to the authors as they may know best of their subjects’ features. In the long term, these emphasizing patterns using italics or various diacritic signs can change and deliver study materials when observing the status of specific topics. This is to ensure diversity in representation. Along this way of thoughts comes the approved introduction of the authors’ names in their local writings if there is a personal wish and a chance. Those local writings are as far as possible considered in the references.
Many thanks go to all contributors, their patience and careful control, the publisher, the reviewers, and the editors.
The contributions 3, 5, 6, and 7 dispute historical shifts in the perception of minorities from the perspective of regional majorities. The contribution 4, 8 and 10 try to shed light on musical features developed by specific groups of people at different times who are aware of their spatial or social changes. The reviews contain an event, a publication, the life work, and a specific repertoire. The contributors to this issue come from seven different countries using at least eleven different languages during their studies. The order of contributions does not reflect on their qualitative hierarchy. It is to attract wider interest and to embed topics in their context. Some authors share the same workplace or are alumni of the same institution, yet those contributions can be very different. It is in the scope of the journal to not imply any individual or institutional typicalities. This approach is to invite more scholars to explore new issues or to approach with new views their core research.
AEMR, also being distributed as printed issue, published by LOGOS Berlin, is striving for higher quality papers and encourages scholars of various fields in music research to submit full papers or reviews of writings, events, or projects. In order to make all issues available online, the publisher has introduced a small section with full previous issues in lower resolution. In case you need a printed version, please, contact the publisher. ISSN Number and layout did not change. There are special conditions for purchases of two numbers.
Please, feel free to contact the editors or the members of the editorial board for specific information. The guidelines for authors were updated online and in print to ease access and to better understand production processes. Many thanks to all authors and nameless reviewers for this interesting issue.
In the review section, there are three other contributions. One is about the role of ethnomusicologists in ethnographic museums (Lewy), followed by a review of a quite recent publication in the Indian research tradition (Jähnichen), and an overview about local music research in the Vietnamese Province Quảng Ngãi (Nguyễn Thế Truyền).
From now onwards, AEMR-EJ, will also be distributed as printed issue, published by LOGOS Berlin. Earlier editions are only available online. In case you need a printed version, please, contact the publisher. ISSN Number and layout will not change as well as all other components such as the Editorial Board, the Call for Submissions, and the Code of Ethics.
Issue 4 of AEMR-EJ appears with some modifications. In this issue abstracts, keywords, short biographical data or affiliation(s) of the author(s), and the author’s(s’) contacts are included in the article or review and not put as an extra file. Also, video and sound supplements are referred to in the references. Since these supplements are widely distributed, it is useful to try an opposite approach by linking the articles or reviews to the already existing video and sound files.
Upon the invitation of the Turkish Ministry of Culture and Tourism and the State Conservatory of Ankara, the two ICTM Study Groups “maqām” and “Music in the Arab World” held a Joint Symposium in Ankara, December 17-21, 2014 under the general topic “Maqām traditions between theory and contemporary music making” divided into the five topics on different and related subject matters.
The subjects proposed were of mutual interest and with their broad thematic approach they were relevant to the region that stretches from North Africa via Near East to Central and South East Asia. The joint meeting aimed at connecting discussion on theoretical and practical, analytical and historical issues of music with those on current contexts such as problems of transmission of traditions and their performance through modern teaching or problems of the impact of politics on traditions.
The Ankara symposium was well-attended by interested scholars, students and artists from Algeria, Azerbaijan, Ethiopia, France, Germany, Greece, Iran, Iraq, Malaysia, Netherlands, Oman, Russia, Turkey and Uzbekistan. From total of 33 contributions presented in form of lectures, presentations or panel discussions, the 21 papers compiled in this volume reflect the diversity of rewarding subjects and variously designed investigative methods deriving from different scientific traditions.
Our call for papers is going out very early to allow enough time to get prepared for all cases. Please, note that the time period to submit the finalized papers (that have been discussed in the Q&A parts) after the symposium will be kept short. Also, note that we do not offer the usual topic "New research" as we expect that all submitted proposals will offer new insights. Please submit your abstract only if you are sure that you wish to attend.
Host of the Symposium will be the University of Visual and Performing Arts, in Colombo, Sri Lanka. In preparation of the symposium, accommodation was selected for recommendation near to the venue (in walking distance) and modalities of symposium management negotiated. The week before Easter holidays 2021 is again the time frame that may allow you to extend your exploration of this interesting island country.
"Musical Instruments and the Senses" + "Mobility and Colonization of Musical Instruments and Instrumental Repertoires" + "New Research"
10-13 April 2019, Lisbon
‘Buddhist music’, which has become a commonly used term only in the recent decades in the Sinophone, articulates an ambiguous but yet incongruously multi-faceted sphere of imagination for cultural musicologists with certain emphasis in musical shape and religious ideology. Despite the negotiation of the religious sound between secularism and sacredness within Buddhist society, the doctrine of ‘emptiness’ in the Buddhist philosophy that gives rise to the concept of phenomenality evokes a highly imaginative idea on the matter of ‘non-sounding’ music qualities and ‘non-musicality’ in the context of religious practice. Sociocultural anthropology contributes in some aspects to a holistic understanding of the non-sounding. Cultural, social, material and cognitive conditions within communities that are highly affected by religious considerations in daily life shape the environment in which the behaviour towards ‘sound’ and the ‘non-sounding’ is embedded. The anthropological view on this issues allows for further applications on specific religious societies as well as an individuation of elements in dealing with ‘emptiness’ that is musically imagined and as such understood by a group of people. Drawing on cultural musicology and anthropology, the music analysis in this interdisciplinary paper is limited to the present understanding of the Buddhist philosophy since the historical dimension can only be roughly touched. The examples chosen to demonstrate the musical imagination of ‘emptiness’ are taken from two small archives in Malaysia and Laos that were set up in order to support further music studies in an Asian multi-ethnic, multi-social and multi-religious context. ‘Buddhist music’ appears or should be deemed as ‘non-sounding’ is scrutinized as religious requirement, as an aesthetic preference, as an ideological state, and as a normative category that is widely individualised. For these cases, individual descriptions of clear imagination are considered as in the following examples: “lotuses in the sky flying to passengers on the missing Flight 370”; and “listening to the free reed pipe is as if being taken by high ocean waves while only occasionally diving under water and feeling temporarily deaf when the air flow is interrupted”. Other descriptions made in literature that is over thousand years old demand the absence of any distractive perception in sound in order to concentrate in the realm of subjectivity as a true living life. In contrast, other concepts consider ‘emptiness’ as non-productive and fill the communal space with sound in order to avoid the ‘non-sounding’ moment. In narrative and metaphorical analyses, some surprising sonic appearances become more understandable and can be better related to local differentiations in dealing with the perspective of ‘emptiness’, as well as the human imagination on a construct of the an imagined ‘emptiness’ in music. The final outcome is the presentation of an overview of concepts and philosophies on the musical imagination of ‘emptiness’, as ‘Buddhist music’ is deemed as a musical genre that requires an imaginative sphere that influences an audience’s understanding and his ways to consume the music. This overview is set into the present Asian space at the threshold to a speedy and large urban development transforming with globalisation and some local counter currents in various Asian cultures.