Mongolian Sound Worlds
portes grátis
Mongolian Sound Worlds
Badamsuren, Bayarsaikhan; Colwell, Andrew; Curtet, Johanni; D'Evelyn, Charlotte; D'Evelyn, Charlotte; Hargana, Tamir; Yoon, Sunmin; Chuluunbaatar, Otgonbayar; Dashdorj, Tserendava; Post, Jennifer C.
University of Illinois Press
04/2022
310
Mole
Inglês
9780252086441
15 a 20 dias
Descrição não disponível.
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii
Transliteration, Naming, and Place Names . . . . . . . . . . . . . . . . . . . . .ix
Companion Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiii
Introduction: Mongolian Sound Worlds: Opening Snapshots
SUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
PART ONE: LANDSCAPES AND SOUNDSCAPES
Interlude: Song about the Steppe
K. OKTYABR AND JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
1. Sound, Music, Pastoralism, and Nature in Mongolian Sound Worlds
JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
PART TWO: ETHNICITY AND DIVERSITY
Interlude: Musical Journeys in Inner Mongolia and Beyond
TAMIR HARGANA AND CHARLOTTE D'EVELYN . . . . . . . . . . . . . . . . . . . . .53
2. Music and Ethnic Identity in Inner Mongolia
CHARLOTTE D'EVELYN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
3. The Politics of Regional and Ethnic Identities in Contemporary Mongolian Urtyn Duu
SUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
4. Gendered Musicality in the Altai Mountains
REBEKAH PLUECKHAHN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
PART THREE: MATERIAL AND SOCIAL HISTORY
Interlude: Consistency, Patience, and Perseverance: Maintaining the Fiddle-Making Tradition
BAYARSAIKHAN BADAMSUEREN AND PETER K. MARSH . . . . . . . . . . . . . .129
5. The Horsehead Fiddle: A Biographical History
PETER K. MARSH AND CHARLOTTE D'EVELYN . . . . . . . . . . . . . . . . . . 135
6. The Tovshuur and Oirad Identity in Mongolia's Western Provinces
OTGONBAYAR CHULUUNBAATAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
7. Social Lives of the Dombyra and Its Makers in Western Mongolia
JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
PART FOUR: HERITAGE AND GLOBALIZATION
Interlude: Everything Has Two Sides: An Interview
ANDREW COLWELL AND D. TSERENDAVAA . . . . . . . . . . . . . . . . . . . . . .197
8. Chandman' and Beyond: Heritage-making of Mongolian Khoeoemii in Past and Present
JOHANNI CURTET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
9. Mongolian Music, Globalization, and Nomadism
ANDREW COLWELL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
10. "We Were Born with Global Ambition": Continuity, Innovation, and a New Chapter in the Development of Mongolian Popular Music
PETER K. MARSH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281
Transliteration, Naming, and Place Names . . . . . . . . . . . . . . . . . . . . .ix
Companion Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiii
Introduction: Mongolian Sound Worlds: Opening Snapshots
SUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
PART ONE: LANDSCAPES AND SOUNDSCAPES
Interlude: Song about the Steppe
K. OKTYABR AND JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
1. Sound, Music, Pastoralism, and Nature in Mongolian Sound Worlds
JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
PART TWO: ETHNICITY AND DIVERSITY
Interlude: Musical Journeys in Inner Mongolia and Beyond
TAMIR HARGANA AND CHARLOTTE D'EVELYN . . . . . . . . . . . . . . . . . . . . .53
2. Music and Ethnic Identity in Inner Mongolia
CHARLOTTE D'EVELYN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
3. The Politics of Regional and Ethnic Identities in Contemporary Mongolian Urtyn Duu
SUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
4. Gendered Musicality in the Altai Mountains
REBEKAH PLUECKHAHN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
PART THREE: MATERIAL AND SOCIAL HISTORY
Interlude: Consistency, Patience, and Perseverance: Maintaining the Fiddle-Making Tradition
BAYARSAIKHAN BADAMSUEREN AND PETER K. MARSH . . . . . . . . . . . . . .129
5. The Horsehead Fiddle: A Biographical History
PETER K. MARSH AND CHARLOTTE D'EVELYN . . . . . . . . . . . . . . . . . . 135
6. The Tovshuur and Oirad Identity in Mongolia's Western Provinces
OTGONBAYAR CHULUUNBAATAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
7. Social Lives of the Dombyra and Its Makers in Western Mongolia
JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
PART FOUR: HERITAGE AND GLOBALIZATION
Interlude: Everything Has Two Sides: An Interview
ANDREW COLWELL AND D. TSERENDAVAA . . . . . . . . . . . . . . . . . . . . . .197
8. Chandman' and Beyond: Heritage-making of Mongolian Khoeoemii in Past and Present
JOHANNI CURTET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
9. Mongolian Music, Globalization, and Nomadism
ANDREW COLWELL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
10. "We Were Born with Global Ambition": Continuity, Innovation, and a New Chapter in the Development of Mongolian Popular Music
PETER K. MARSH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
khoeoemii; throat singing; morin khuur; horsehead fiddle; urtyn duu; long-song; Mongol; Uriankhai; Mongolian Kazakh; Inner Mongolia; globalization; Ulaanbaatar; tovshuur; dombyra; spirituality; nature; socialism; popular music; pastoralism; nationalism; epics; mining; Intangible Cultural Heritage ICH; The Hu; herders; horses; heavy metal; grasslands; forests; women; folk ensembles; epic singing; economic system; ecological knowledge; well-being; cultural heritage; democracy; China; capitalism; Anda Union; instruments; ethnography; musicians
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii
Transliteration, Naming, and Place Names . . . . . . . . . . . . . . . . . . . . .ix
Companion Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiii
Introduction: Mongolian Sound Worlds: Opening Snapshots
SUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
PART ONE: LANDSCAPES AND SOUNDSCAPES
Interlude: Song about the Steppe
K. OKTYABR AND JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
1. Sound, Music, Pastoralism, and Nature in Mongolian Sound Worlds
JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
PART TWO: ETHNICITY AND DIVERSITY
Interlude: Musical Journeys in Inner Mongolia and Beyond
TAMIR HARGANA AND CHARLOTTE D'EVELYN . . . . . . . . . . . . . . . . . . . . .53
2. Music and Ethnic Identity in Inner Mongolia
CHARLOTTE D'EVELYN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
3. The Politics of Regional and Ethnic Identities in Contemporary Mongolian Urtyn Duu
SUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
4. Gendered Musicality in the Altai Mountains
REBEKAH PLUECKHAHN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
PART THREE: MATERIAL AND SOCIAL HISTORY
Interlude: Consistency, Patience, and Perseverance: Maintaining the Fiddle-Making Tradition
BAYARSAIKHAN BADAMSUEREN AND PETER K. MARSH . . . . . . . . . . . . . .129
5. The Horsehead Fiddle: A Biographical History
PETER K. MARSH AND CHARLOTTE D'EVELYN . . . . . . . . . . . . . . . . . . 135
6. The Tovshuur and Oirad Identity in Mongolia's Western Provinces
OTGONBAYAR CHULUUNBAATAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
7. Social Lives of the Dombyra and Its Makers in Western Mongolia
JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
PART FOUR: HERITAGE AND GLOBALIZATION
Interlude: Everything Has Two Sides: An Interview
ANDREW COLWELL AND D. TSERENDAVAA . . . . . . . . . . . . . . . . . . . . . .197
8. Chandman' and Beyond: Heritage-making of Mongolian Khoeoemii in Past and Present
JOHANNI CURTET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
9. Mongolian Music, Globalization, and Nomadism
ANDREW COLWELL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
10. "We Were Born with Global Ambition": Continuity, Innovation, and a New Chapter in the Development of Mongolian Popular Music
PETER K. MARSH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281
Transliteration, Naming, and Place Names . . . . . . . . . . . . . . . . . . . . .ix
Companion Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiii
Introduction: Mongolian Sound Worlds: Opening Snapshots
SUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
PART ONE: LANDSCAPES AND SOUNDSCAPES
Interlude: Song about the Steppe
K. OKTYABR AND JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
1. Sound, Music, Pastoralism, and Nature in Mongolian Sound Worlds
JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
PART TWO: ETHNICITY AND DIVERSITY
Interlude: Musical Journeys in Inner Mongolia and Beyond
TAMIR HARGANA AND CHARLOTTE D'EVELYN . . . . . . . . . . . . . . . . . . . . .53
2. Music and Ethnic Identity in Inner Mongolia
CHARLOTTE D'EVELYN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
3. The Politics of Regional and Ethnic Identities in Contemporary Mongolian Urtyn Duu
SUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
4. Gendered Musicality in the Altai Mountains
REBEKAH PLUECKHAHN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
PART THREE: MATERIAL AND SOCIAL HISTORY
Interlude: Consistency, Patience, and Perseverance: Maintaining the Fiddle-Making Tradition
BAYARSAIKHAN BADAMSUEREN AND PETER K. MARSH . . . . . . . . . . . . . .129
5. The Horsehead Fiddle: A Biographical History
PETER K. MARSH AND CHARLOTTE D'EVELYN . . . . . . . . . . . . . . . . . . 135
6. The Tovshuur and Oirad Identity in Mongolia's Western Provinces
OTGONBAYAR CHULUUNBAATAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
7. Social Lives of the Dombyra and Its Makers in Western Mongolia
JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
PART FOUR: HERITAGE AND GLOBALIZATION
Interlude: Everything Has Two Sides: An Interview
ANDREW COLWELL AND D. TSERENDAVAA . . . . . . . . . . . . . . . . . . . . . .197
8. Chandman' and Beyond: Heritage-making of Mongolian Khoeoemii in Past and Present
JOHANNI CURTET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
9. Mongolian Music, Globalization, and Nomadism
ANDREW COLWELL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
10. "We Were Born with Global Ambition": Continuity, Innovation, and a New Chapter in the Development of Mongolian Popular Music
PETER K. MARSH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
khoeoemii; throat singing; morin khuur; horsehead fiddle; urtyn duu; long-song; Mongol; Uriankhai; Mongolian Kazakh; Inner Mongolia; globalization; Ulaanbaatar; tovshuur; dombyra; spirituality; nature; socialism; popular music; pastoralism; nationalism; epics; mining; Intangible Cultural Heritage ICH; The Hu; herders; horses; heavy metal; grasslands; forests; women; folk ensembles; epic singing; economic system; ecological knowledge; well-being; cultural heritage; democracy; China; capitalism; Anda Union; instruments; ethnography; musicians
