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This volume of nine essays draws together leading scholars in
anthropology, social history, musicology, and ethnomusicology to
address the roles and functions of music in the Chinese ritual
context. How does music, one of a constellation of essential
performative elements in almost all rituals, empower an officiant,
legitimate an officeholder, create a heightened state of awareness,
convey a message, or produce a magical outcome, a transition, a
transformation? After an introduction by the volume editors, Bell
Yung proposes a theoretical framework for dealing with Chinese
ritual sound. A group of three essays focuses on the music for
rituals that create political and social legitimacy followed by a
second group of essays considering the music associated with rites
of passage. Two essays then deal with the music accompanying
rituals of propitiation. In all these cases, music is seen to play
a critical role, if not the core of the ritual.
Framing timely and pressing questions concerning music and cultural
rights, this collection illustrates the ways in which music--as a
cultural practice, a commercial product, and an aesthetic form--has
become enmeshed in debates about human rights, international law,
and struggles for social justice. The essays in this volume examine
how interpretations of cultural rights vary across societies; how
definitions of rights have evolved; and how rights have been
invoked in relation to social struggles over cultural access, use,
representation, and ownership. The individual case studies, many of
them based on ethnographic field research, demonstrate how musical
aspects of cultural rights play out in specific cultural contexts,
including the Philippines, China, Hawaii, Peru, Ukraine, and
Brazil. Contributors are Nimrod Baranovitch, Adriana Helbig, Javier
F. Leon, Ana Maria Ochoa, Silvia Ramos, Helen Rees, Felicia
Sandler, Amy Ku'uleialoha Stillman, Ricardo D. Trimillos, Andrew N.
Weintraub, and Bell Yung.
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