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For more than 150 years, individuals have traveled the countryside
with pen, paper, tape recorders, and even video cameras to document
versions of songs, music, and stories shared by communities. As
technologies and methodologies have advanced, the task of gathering
music has been taken up by a much broader group than scholars. The
resulting collections created by these various people can be
impacted by the individual collectors' political and social
concerns, cultural inclinations, and even simple happenstance,
demonstrating a crucial yet underexplored relationship between the
music and those preserving it.Collecting Music in the Aran Islands,
a critical historiographical study of the practice of documenting
traditional music, is the first to focus on the archipelago off the
west coast of Ireland. Deirdre NI Chonghaile argues for a
culturally equitable framework that considers negotiation,
collaboration, canonization, and marginalization to fully
understand the immensely important process of musical curation. In
presenting four substantial, historically valuable collections from
the nineteenth and twentieth centuries, she illustrates how
understanding the motivations and training (or lack thereof) of
individual music collectors significantly informs how we should
approach their work and contextualize their place in the folk music
canon.
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