The Legacy of Indigenous Music: Asian and European Perspectives (Sinophone and Taiwan Studies, 4)

This book shares essential insights into how indigenous music has been inherited and preserved under the influence of the dominant mainstream culture in Asia and Europe. It illustrates possible ways of handing down indigenous music in countries and regions with different levels of acceptance toward indigeneity, including Taiwan, the Philippines, Malaysia, Turkey, the Czech Republic, Slovakia, the Near and Middle East, Caucasus Mountains, etc. Given its focus, the book benefits researchers who are interested in the status quo of indigenous music around the globe. The macro- and micro-perspectives used to explore related issues, problems, and concerns also benefit those interested in regional ethnomusicology. Preface Contents Editors and Contributors Stage Performance and Music Inheritance of Taiwan’s Indigenous People: A Case of Series Concerts “Sounds from Across Generations” 1 Introduction 2 Overview of the Concert’s Events 3 A Brief History of Staged Taiwanese Indigenous Music 3.1 Economic-Based Tourism Performances 3.2 Cultural Declarative Performances 3.3 Production for This Series of Concerts 4 Indigenous Sounds from Across Generations 4.1 The Concept of “Five Generations on One Stage” 4.2 Staging Process and Inheritance 5 Conclusion References “Imagined” Indigenous Music as Materials in Music Education in Taiwan (1950–2000) 1 Introduction 2 Contact and Understanding of Indigenous Music 2.1 Musicians and Choreographers in the Early Post-WWII Period 2.2 Seminar on Improving Shandi Songs and Dances 2.3 A New Perspective of Academic Research 3 Indigenous Music in Music Textbooks 3.1 Imagined Songs and Legends 3.2 New Lyrics in National Language 3.3 Limitation on Perspectives and Research Method 3.4 A Controversial Song 4 Conclusion References Musicking as a Way of Connecting with the Ancestral Home: Preserving and Inventing Traditions in Papulu, Taiwan 1 Semimusimuk: Legacy and Celebration 2 Taiwanese Indigenous Peoples and Related Studies 3 Pinuyumayan Group and Papulu Village 4 Mangayaw, Pairairaw, and Tremilratilraw 5 The Legacy and the Semimusimuk 6 Musicking as a Way of Connecting with the Ancestral Home References Fate and Value of Musical Traditions in a Globalising World 1 Socio-Economic Conditions and Political Constellations 2 Political Dimension 3 Reality of Musical Traditions—Context—Understanding 4 Tradition—Form of Existence, Change, and Variability 5 Preserving Tradition—Museum Existence 6 Globalisation—Technical Development 7 Copyright 8 Pop Music 9 The Global Threat to Musical Traditions 9.1 Destruction 9.2 Perpetuation of a False Image of Foreign Music Cultures: The Own and the Foreign, the Other 9.3 Replacement of the “Outdated” Traditions of the Others 9.4 Addition to One’s Own “Native” Traditions 10 Exclusions 11 Yemen 12 Gender Segregation 13 Upheaval—Renewal—Medialisation 14 Egypt 15 Historical Depth 16 The Aiyai Genre 17 The Caliphate 18 Fund of Intellectual and Cultural Achievements 19 Conclusion: Humane Globalisation References Re-sonating Voices, Sounds, and Memories: The Repatriation of 60-Year-Old Field Recordings from Sagada, Mountain Province in Northern Philippines 1 Introduction 2 Sagada 3 The ReCollection Project 4 A Brief Description of Music in Sagada 5 Conclusion References Study of Polyphonic Music of National Minorities Through the Historical Perspective 1 Georgia as a National Minority and National Minorities Living in Georgia 1.1 Georgia 1.2 East Georgia 1.3 Western Georgia 1.4 Svaneti 1.5 Racha 1.6 The Urban Music in Georgia 2 Minorities Living in Georgia 2.1 Abkhazians 2.2 Ossetians 3 State of Study of Traditional Music of National Minorities 3.1 Russian Researchers 3.2 Georgian Researchers 3.3 Policy of Studying Minority Music in Georgia 4 Some General Issues of Study of Polyphonic Traditions of National Minorities 4.1 Distribution of Polyphony Among Indigenous National Minorities 4.2 Stratification of Traditional Polyphony in the Light of the Origins of Polyphony 4.3 Polyphony, Indigenous National Minorities and State Borders 5 Conclusions: What Does This All Mean for the Study of the Polyphonic Traditions of Indigenous Peoples? References The Indigenous Music of Sarawak and Its Transmission Over the Last 60 Years with a Special Focus on the Music of the Kenyah and the Lun Bawang 1 Introduction 2 Literature Survey of Research on Traditional Dayak Music in Sarawak 3 Music Education in Sarawak and Transmission of Indigenous Music 3.1 Sarawak Music Education in the 1960s and 1970s 3.2 Music Education in Malaysian Elementary Schools After the 1980s 3.3 Music as a Subject in Malaysian Secondary Schools 4 Kenyah Music from the Longhouse to the Urban Classroom 4.1 Belian Dado’ 4.2 Songs Associated with Instrumental Music 4.3 Appeal of the Songs to Different Age-Groups and Ethnicities 4.4 Instrumental Music 4.5 Recontextualization (Adaptations for the Classroom and Stage) 5 The Lun Bawang People and Their Musical Culture 5.1 Vocal Music 5.2 Instrumental Music 5.3 Influence of the Church 5.4 The Lun Bawang Bamboo Band, Lawas, Sarawak 5.5 Instrumentation and Harmony 5.6 Repertoire and Role in Society 6 Sape in the Wider Society 6.1 Resurgence in Popularity 6.2 Transmission of Sape Skills 6.3 Changing Repertoire 7 Conclusion References Minority Versus Majority—Phrase or Reality? 1 Life Systems and Origins of Roma and Sinti 2 Documentation and Forms of Representation 3 The Roma and Sinti Minorities in Europe 4 Research Programs on Roma and Sinti in Slovakia 5 The Starting Research on Roma, Sinti or the Olav Society 6 Research Projects and Encounters with Roma 7 Some Closing Aspects on the Practice and Research of the Roma References Indigenous People and Traditional Music in the Historical Context of the Czech Lands 1 Coexistence of Majority and Minority as a Historical Fate 2 Czech, German, Polish, Slovak, or European Heritage 3 Teacher—Cantor: Care for Language and Music Education 4 First Attempts to Collect and Publish Folk Music 5 Hymn Books, Songbooks: A Repertoire Source of Rural and Urban Singing 6 Modern Songbooks and Their Influence on the Song Repertoire of 20th Century Society: Research Results References 503482_1_En_10_Chapter_OnlinePDF.pdf Correction to: The Indigenous Music of Sarawak and Its Transmission Over the Last 60 Years with a Special Focus on the Music of the Kenyah and the Lun Bawang Correction to: Chapter “The Indigenous Music of Sarawak and Its Transmission Over the Last 60 Years with a Special Focus on the Music of the Kenyah and the Lun Bawang” in: Y. Lu and O. Elschek (eds.), The Legacy of Indigenous Music, Sinophone and Taiwan Studies 4, https://doi.org/10.1007/978-981-16-4473-37