- Popular/Folk Catholicism, Brazilian Music, Anthropology Of Dance, Transatlantic History, Portuguese Music, Soundscape Studies, and 14 moreLuso-Afro-Brazilian Studies, Latin American Colonial Music, Performance Ethnography, Festivals and music, Postcolonial Theory, Social History, Civility and the Civilising Process, Ethnomusicology, Place Branding, Research Data Management, São Tomé and Príncipe, Bulawê, Tchilôli, and Tradições Musicais Santomensesedit
- Research interests: music and postcolonialism; Portuguese-speaking countries; ethnography; dance anthropology; librar... moreResearch interests: music and postcolonialism; Portuguese-speaking countries; ethnography; dance anthropology; library and information science; music pedagogy.
Professor of Ethnomusicology at Goethe University Frankfurt/Main (since 2019); Visiting Professor of Ethnomusicology at Goethe University Frankfurt/Main (2017-2019); Junior Professor of Ethnomusicology at Hochschule für Musik und Theater Rostock (2009–2017); Visiting Professor at Universidade Federal de Minas Gerais (2013) and at University of Vienna (2016);
PhD at University of Vienna (2008); Habilitation at Hochschule für Musik und Theater Rostock (2016), Venia Legendi (2017); Master in Library and Information Science at Humboldt University Berlin (2018); Website Reviews Editor of the Yearbook for Traditional Music (2011-2017); co-editor of the journal The World of Music (New Series) (2012–2014); author of Die Performance des Mouro in Nordportugal (VWB, Berlin, 2010); guest editor of Transatlantic Musical Flows in the Lusophone World (the world of music (new series) 2/2013) and Kunstmusik–Kolonialismus–Lateinamerika (RMM 4/2017, Verlag Blaue Eule); and co-editor of Beyond Borders: Welt-Musik-Pädagogik. Musikpädagogik und Ethnomusikologie im Diskurs (2013, Wissner Verlag). B. Alge was council member of the Society for Ethnomusicology (2012-2015), and acted as second spokesperson of the FG Vergleichende Musikwissenschaft/Musikethnologie in the German Musicological Society (2014-2018).
Memberships: Gesellschaft für Musikforschung, International Council for Traditional Music, Society for Ethnomusicology.
Field work experience: Portugal, Brazil, and São Tomé and Príncipe.edit
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Gold, Festivals, and Music in Southeast Brazil: Sounding Portugueseness is a study of the musical legacy of the eighteenth century Brazilian gold rush that integrates ethnographic research of the main genres of former mining communities... more
Gold, Festivals, and Music in Southeast Brazil: Sounding Portugueseness is a study of the musical legacy of the eighteenth century Brazilian gold rush that integrates ethnographic research of the main genres of former mining communities in Brazil – from liturgical music in the style of European art music to Afro-Brazilian musical expressions. Its content and structure are informed by Norbert Elias’s idea of the civilizing process, which is explored regarding its relevance in interpreting sociocultural processes and choreo-musical expressions in the small town of Morro Vermelho. The book’s innovative feature is its focus on a little-known area to non-Brazilian scholars, and its focus on the colonial and European heritage in Brazil.
Morro Vermelho’s cultural traditions have received relatively limited attention. The Catholic festival of Our Lady of Nazareth provides a setting for the documentation and analysis of the musical setting and is thus placed at the center of the discussion. It leads through the vast writings on Brazilian identity and challenges the view on Brazilian-ness as constructed in terms of the mixing of races. Norbert Elias’s concept of the "civilizing process" structures the book and is relevant for understanding the cultural sphere of the festival of Our Lady of Nazareth.
The book combines discourses of Portugueseness with historical sources and observations from fieldwork and community building in the virtual world. The focus on the music to support social constructions of "Portugueseness" is supported with evidence from diverse data sources: music (literature and fieldwork recordings), original interviews, marketing materials and historical narratives. The combination of archival, ethnographic, and bibliographic research methods attempts a seamless narrative. Its approach to fieldwork and frank reflections on the process and relevant issues help to contextualize the analyses and serve as useful advice for future researchers.
Morro Vermelho’s cultural traditions have received relatively limited attention. The Catholic festival of Our Lady of Nazareth provides a setting for the documentation and analysis of the musical setting and is thus placed at the center of the discussion. It leads through the vast writings on Brazilian identity and challenges the view on Brazilian-ness as constructed in terms of the mixing of races. Norbert Elias’s concept of the "civilizing process" structures the book and is relevant for understanding the cultural sphere of the festival of Our Lady of Nazareth.
The book combines discourses of Portugueseness with historical sources and observations from fieldwork and community building in the virtual world. The focus on the music to support social constructions of "Portugueseness" is supported with evidence from diverse data sources: music (literature and fieldwork recordings), original interviews, marketing materials and historical narratives. The combination of archival, ethnographic, and bibliographic research methods attempts a seamless narrative. Its approach to fieldwork and frank reflections on the process and relevant issues help to contextualize the analyses and serve as useful advice for future researchers.
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The volume Musikethnographien im 21. Jahrhundert brings together ten contributions by ethnomusicologists from the German-speaking world, who discuss current paradigms of fieldwork such as multi-situated fieldwork, reflexivity,... more
The volume Musikethnographien im 21. Jahrhundert brings together ten contributions by ethnomusicologists from the German-speaking world, who discuss current paradigms of fieldwork such as multi-situated fieldwork, reflexivity, dialogicity, feedback, auto-ethnography, activism and intervention through performance ethnography and collaborative research, as well as questions of repatriation, ethical handling of research data and the role of digital social media. In addition to theories and methodological reflections, the volume also includes reflections on the temporality of ethnographic material as well as ethnographical fieldwork on memory and the past. These reflections are applied to the subject of music and sound.
Dieses Buch gibt Einblick in die gegenwärtige Praxis von in Deutschland wirkenden MusikethnologInnen im Umgang mit Forschungsdaten. Exkurse führen dabei auch nach Großbritannien und in die USA, vor allem zum Repositorium Ethnographic... more
Dieses Buch gibt Einblick in die gegenwärtige Praxis von in Deutschland wirkenden MusikethnologInnen im Umgang mit Forschungsdaten. Exkurse führen dabei auch nach Großbritannien und in die USA, vor allem zum Repositorium Ethnographic Video for Instruction and Analysis Digital Archive in Bloomington. Aktuelle und potentielle Infrastrukturpartner für musikethnologisches Forschungsdatenmanagement in Deutschland, von Archiven über Medienrepositorien von Verlagen bis hin zu Forschungsdatenservices an Hochschulen, werden vor-gestellt. Ferner werden Möglichkeiten des Forschungsdatenmanagements in Zusammenarbeit mit Datenzentren und Datenarchiven und nationalen Lösungen wie dem DARIAH-DE Repositorium aufgezeigt. Zu den wichtigsten Erkenntnissen der Studie gehören spezifische fachliche Probleme der Musikethnologie durch ihren Umgang mit ethnographischem Material und außereuropäischen Musikkulturen, die wiederum spezifische Fragen hinsichtlich Urheberrecht und intellektuellem Eigentum mit sich bringen. Das Buch liefert wertvolle Empfehlungen zur Bereitstellung von Forschungsdaten für musikethnologisch Arbeitende aus der Perspektive der Musikethnologie und Informationswissenschaft.
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For more information (preface, contents etc.) see "Neue Titel" under http://die-blaue-eule.de/page.html
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Beschreibung Christine Ehardt, Daniela Pillgrab, Marina Rauchenbacher, Barbara Alge (Hg.), 2011, Inszenierung von "Weiblichkeit" Zur Konstruktion von Körperbildern in der Kunst, Wien: Löcker Verlag Eine Kategorisierung von... more
Beschreibung
Christine Ehardt, Daniela Pillgrab,
Marina Rauchenbacher, Barbara Alge (Hg.), 2011,
Inszenierung von "Weiblichkeit"
Zur Konstruktion von Körperbildern in der Kunst, Wien: Löcker Verlag
Eine Kategorisierung von Geschlechterrollen in "weiblich" und "männlich" sollte nach den in Wissenschaft und Kunst geführten Debatten längst überholt erscheinen. Ungeachtet dessen erfahren diese binären Geschlechterzuschreibungen eine ständige Tradierung in Medien, Kunst und Alltagskultur.
Die Problematik der Inszenierung von "Weiblichkeit" in Kunst und Kultur ist deshalb reformulierter Ausgangspunkt dieses interdisziplinären Sammelbandes. Dabei ist einerseits die Relativierung der Geschlechterkonstruktion im Sinne einer Performativität und somit kulturell bedingten Rollenspezifizierung im Sinne Judith Butlers grundlegend. Andererseits aber sollen genau jene geschlechtsdeterministischen Tendenzen beleuchtet werden, die zu diesem kulturwissenschaftlichen common sense - nach wie vor oder gerade wieder - quer stehen. Daraus folgend rückt auch die Frage, inwieweit Butlers theoretische Auseinandersetzungen auch heute noch aktuell sind, in den Blickpunkt. Wie verhalten sich etwa die verschiedenen künstlerischen Ausdrucksformen zu stets präsenten dichotomen (Rollen-)Zuschreibungen? Daran anschließend stellen sich beispielsweise auch Fragen nach der Flüchtigkeit von performativ hervorgebrachten "Weiblichkeits"-Bildern und deren Speicherung, nach Wahrnehmung und Wiedererkennung von "Weiblichkeit", nach dem "phänomenalen" und "semiotischen Körper" oder nach der Dekonstruktion von Körperbildern.
Die Beiträge zeigen einen Querschnitt aktueller geistes- und kulturwissenschaftlicher Forschungen zu bildender Kunst, digitalen Medien, Literatur, Film, Musik, Performance und Tanz.
Beiträge von:
Barbara Alge, Christa Brüstle, Meri Disoski, Christine Ehardt, Ralph Fischer, Konstanze Fliedl, Irene Fußl, Nicole Haitzinger, Heide Hammer, Jana Herwig, Melanie Letschnig, Daniela Pillgrab, Marina Rauchenbacher, Stefan Vater, Renate Wieser.
Christine Ehardt, Medienwissenschafterin, Lektorin am Institut für Theater-, Film- und Medienwissenschaft in Wien.
Daniela Pillgrab, Theaterwissenschafterin, Kollegiatin im Initiativkolleg "Sinne-Technik-Inszenierung: Medien und Wahrnehmung".
Marina Rauchenbacher, Germanistin, Assistentin in Ausbildung am Institut für Germanistik Wien.
Barbara Alge, Musikwissenschafterin, Juniorprofessorin an der Hochschule für Musik und Theater in Rostock.
ca. 256 Seiten
€ 24,80
ISBN 978-3-85409-571-2
Christine Ehardt, Daniela Pillgrab,
Marina Rauchenbacher, Barbara Alge (Hg.), 2011,
Inszenierung von "Weiblichkeit"
Zur Konstruktion von Körperbildern in der Kunst, Wien: Löcker Verlag
Eine Kategorisierung von Geschlechterrollen in "weiblich" und "männlich" sollte nach den in Wissenschaft und Kunst geführten Debatten längst überholt erscheinen. Ungeachtet dessen erfahren diese binären Geschlechterzuschreibungen eine ständige Tradierung in Medien, Kunst und Alltagskultur.
Die Problematik der Inszenierung von "Weiblichkeit" in Kunst und Kultur ist deshalb reformulierter Ausgangspunkt dieses interdisziplinären Sammelbandes. Dabei ist einerseits die Relativierung der Geschlechterkonstruktion im Sinne einer Performativität und somit kulturell bedingten Rollenspezifizierung im Sinne Judith Butlers grundlegend. Andererseits aber sollen genau jene geschlechtsdeterministischen Tendenzen beleuchtet werden, die zu diesem kulturwissenschaftlichen common sense - nach wie vor oder gerade wieder - quer stehen. Daraus folgend rückt auch die Frage, inwieweit Butlers theoretische Auseinandersetzungen auch heute noch aktuell sind, in den Blickpunkt. Wie verhalten sich etwa die verschiedenen künstlerischen Ausdrucksformen zu stets präsenten dichotomen (Rollen-)Zuschreibungen? Daran anschließend stellen sich beispielsweise auch Fragen nach der Flüchtigkeit von performativ hervorgebrachten "Weiblichkeits"-Bildern und deren Speicherung, nach Wahrnehmung und Wiedererkennung von "Weiblichkeit", nach dem "phänomenalen" und "semiotischen Körper" oder nach der Dekonstruktion von Körperbildern.
Die Beiträge zeigen einen Querschnitt aktueller geistes- und kulturwissenschaftlicher Forschungen zu bildender Kunst, digitalen Medien, Literatur, Film, Musik, Performance und Tanz.
Beiträge von:
Barbara Alge, Christa Brüstle, Meri Disoski, Christine Ehardt, Ralph Fischer, Konstanze Fliedl, Irene Fußl, Nicole Haitzinger, Heide Hammer, Jana Herwig, Melanie Letschnig, Daniela Pillgrab, Marina Rauchenbacher, Stefan Vater, Renate Wieser.
Christine Ehardt, Medienwissenschafterin, Lektorin am Institut für Theater-, Film- und Medienwissenschaft in Wien.
Daniela Pillgrab, Theaterwissenschafterin, Kollegiatin im Initiativkolleg "Sinne-Technik-Inszenierung: Medien und Wahrnehmung".
Marina Rauchenbacher, Germanistin, Assistentin in Ausbildung am Institut für Germanistik Wien.
Barbara Alge, Musikwissenschafterin, Juniorprofessorin an der Hochschule für Musik und Theater in Rostock.
ca. 256 Seiten
€ 24,80
ISBN 978-3-85409-571-2
Open Access under the attached link.
Pdf sob o link indicado.
Pdf sob o link indicado.
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This article functions as an introduction to the following articles of this themed issue of Die Musikforschung. It frames the idea of an applied ethnomusicology, understood as an approach guided by principles of social responsibility, and... more
This article functions as an introduction to the following articles of this themed issue of Die Musikforschung. It frames the idea of an applied ethnomusicology, understood as an approach guided by principles of social responsibility, and as scholarship, knowledge and understanding put to practical use. The article discusses the emergence and relevance of applied ethnomusicology in Anglophone academia as well as the German-speaking world and gives insight into different fields in which applied ethnomusicology can be practiced: from traditional areas such as musical archives and museums to activism against social justice and for the rights of indigenous people and minorities, activism for musical and cultural sustainability or health, to musicological interventions in conflict situations and, finally, ethnomusicological contributions to music pedagogy. The authors do not claim to present a final definition of applied ethnomusicology, but rather aim to demonstrate the potential of this field and to show problems emerging in the course of ethnomusicological projects of an applied character
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Francisco Curt Lange has been called "the German who discovered America" and "pioneer, mediator and Nestor of musicology in Latin America". He is known for his research on colonial music in Latin America and his role... more
Francisco Curt Lange has been called "the German who discovered America" and "pioneer, mediator and Nestor of musicology in Latin America". He is known for his research on colonial music in Latin America and his role as mediator between Latin America and Europe in the realm of Western art music. This article contributes to the understanding of Lange's complex life trajectory set in Europe, the United States and various countries in Latin America. It also builds on former studies of Lange's biography by focusing on his exchange with musicologists in the German-speaking world. It examines the role of German musicology in Lange's work on one hand, and the role of Lange's work in German-language musicology on the other. In addition to secondary sources, the findings are based mainly on Lange's correspondence with the German-speaking world which is archived at the Curt Lange Archive at the Federal University of Minas Gerais, Brazil.
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In diesem Beitrag stellt die Verfasserin Überlegungen zur Verwaltung ihrer Feldforschungsaufnahmen vor dem Hintergrund aktueller Diskussionen zu Forschungsdatenmanagement an. Unter Verwaltung wird dabei nicht nur der Schritt der... more
In diesem Beitrag stellt die Verfasserin Überlegungen zur Verwaltung ihrer Feldforschungsaufnahmen vor dem Hintergrund aktueller Diskussionen zu Forschungsdatenmanagement an. Unter Verwaltung wird dabei nicht nur der Schritt der Speicherung und Archivierung verstanden, sondern diese beginnt bei der Aufnahme selbst und reicht bis zur Veröffentlichung in Form von Ethnographien als Text. Das Mitdenken der Verwaltung von audiovisuellen „Daten“ beeinflusst, so argumentiert die Verfasserin, die Sammlung des ethnographischen Materials selbst. Während sich der Datenbegriff auf alles bezieht, was in einem Zeichensystem dargestellt werden kann, geht ethnographisches Material über die Aufzeichnung hinaus, indem es auch gelebte Erfahrung und menschliche Interaktion beinhaltet. Fragen nach der „Verwaltung“ dieser Interaktion stellen sich besonders hinsichtlich ethischer Verantwortung im Feld. Neben den Vor- und Nachteilen, die Forschungsdatenmanagement für ethnographisch Arbeitende mit sich bringt, diskutiert der Beitrag auch das Potenzial von Repositorien.
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This article functions as an introduction to the following articles of this themed issue of Die Musikforschung. It frames the idea of an applied ethnomusicology, understood as an approach guided by principles of social responsibility, and... more
This article functions as an introduction to the following articles of this themed issue of Die Musikforschung. It frames the idea of an applied ethnomusicology, understood as an approach guided by principles of social responsibility, and as scholarship, knowledge and understanding put to practical use. The article discusses the emergence and relevance of applied ethnomusicology in Anglophone academia as well as the German-speaking world and gives insight into different fields in which applied ethnomusicology can be practiced: from traditional areas such as musical archives and museums to activism against social justice and for the rights of indigenous people and minorities, activism for musical and cultural sustainability or health, to musicological interventions in conflict situations and, finally, ethnomusicological contributions to music pedagogy. The authors do not claim to present a final definition of applied ethnomusicology, but rather aim to demonstrate the potential of thi...
Research Interests: Cultural Studies, Music, Music Education, Musicology, Ethnomusicology, and 10 moreSocial and Cultural Anthropology, Popular musicology, Historical Musicology, Antropología cultural, Antropología, Música, Educação Musical, Etnomusicologia, Etnomusicología, Músicas del mundo, Músicas indígenas, Perspectivismo y Ontología indígena, Música del Amazonas, and Musicología histórica
This chapter gives a reflexive account of two contrasting collaborative ethnomusicological projects that culminated in public exhibitions of work, websites, online archives, and/or public lectures. It provides a set of related concerns,... more
This chapter gives a reflexive account of two contrasting collaborative ethnomusicological projects that culminated in public exhibitions of work, websites, online archives, and/or public lectures. It provides a set of related concerns, including the management of expectations when presenting material to general rather than academic audiences, ethics, the use of language across cultures and disciplines, and a general lack of self-representation within academia and museums. The chapter contends that such issues are best addressed practically, placing reciprocity at the heart of research and engagement, and working with communities by inviting practitioners and members of the community to be active partners in the research and dissemination of applied-musicological projects. Both Soundscapes Rostock and Nimitaau culminated in exhibitions and online content to examine and demonstrate how recorded sounds (of the environmental soundscape and fiddle music respectively) could be presented in publicly engaging and informative way, rather than being consigned to archives or referenced through journals alone.
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2016, Jahrbuch Musik und Gender, Vol. 8 „Grenzgänge“. Gender, Ethnizität und Klasse als Wissenskategorien in der Musikwissenschaft, hrsg. von Cornelia Bartsch und Britta Sweers, Hildesheim/Zürich/New York: Georg Olms, 43-55
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This article functions as an introduction to the following articles of this themed issue of Die Musikforschung. It frames the idea of an applied ethnomusicology, understood as an approach guided by principles of social responsibility, and... more
This article functions as an introduction to the following articles of this themed issue of Die Musikforschung. It frames the idea of an applied ethnomusicology, understood as an approach guided by principles of social responsibility, and as scholarship, knowledge and understanding put to practical use. The article discusses the emergence and relevance of applied ethnomusicology in Anglophone academia as well as the German-speaking world and gives insight into different fields in which applied ethnomusicology can be practiced: from traditional areas such as musical archives and museums to activism against social justice and for the rights of indigenous people and minorities, activism for musical and cultural sustainability or health, to musicological interventions in conflict situations and, finally, ethnomusicological contributions to music pedagogy. The authors do not claim to present a final definition of applied ethnomusicology, but rather aim to demonstrate the potential of thi...
Francisco Curt Lange has been called “the German who discovered America” and “pioneer, mediator and Nestor of musicology in Latin America”. He is known for his research on colonial music in Latin America and his role as mediator between... more
Francisco Curt Lange has been called “the German who discovered America” and “pioneer, mediator and Nestor of musicology in Latin America”. He is known for his research on colonial music in Latin America and his role as mediator between Latin America and Europe in the realm of Western art music. This article contributes to the understanding of Lange’s complex life trajectory set in Europe, the United States and various countries in Latin America. It also builds on former studies of Lange’s biography by focusing on his exchange with musicologists in the German-speaking world. It examines the role of German musicology in Lange’s work on one hand, and the role of Lange’s work in German-language musicology on the other. In addition to secondary sources, the findings are based mainly on Lange’s correspondence with the German-speaking world which is archived at the Curt Lange Archive at the Federal University of Minas Gerais, Brazil.
Research Interests:
Research Interests:
Research Interests:
In diesem Beitrag stellt die Verfasserin Überlegungen zur Verwaltung ihrer Feldforschungsaufnahmen vor dem Hintergrund aktueller Diskussionen zu Forschungsdatenmanagement an. Unter Verwaltung wird dabei nicht nur der Schritt der... more
In diesem Beitrag stellt die Verfasserin Überlegungen zur Verwaltung ihrer Feldforschungsaufnahmen vor dem Hintergrund aktueller Diskussionen zu Forschungsdatenmanagement an. Unter Verwaltung wird dabei nicht nur der Schritt der Speicherung und Archivierung verstanden, sondern diese beginnt bei der Aufnahme selbst und reicht bis zur Veröffentlichung in Form von Ethnographien als Text. Das Mitdenken der Verwaltung von audiovisuellen „Daten“ beeinflusst, so argumentiert die Verfasserin, die Sammlung des ethnographischen Materials selbst. Während sich der Datenbegriff auf alles bezieht, was in einem Zeichensystem dargestellt werden kann, geht ethnographisches Material über die Aufzeichnung hinaus, indem es auch gelebte Erfahrung und menschliche Interaktion beinhaltet. Fragen nach der „Verwaltung“ dieser Interaktion stellen sich besonders hinsichtlich ethischer Verantwortung im Feld. Neben den Vor- und Nachteilen, die Forschungsdatenmanagement für ethnographisch Arbeitende mit sich bringt, diskutiert der Beitrag auch das Potenzial von Repositorien.
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Order as print, eBook or read parts on Google Books
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This article looks at narratives on music from the Brazilian state of Minas Gerais, so called Música Colonial Mineira, Música Barroca Mineira, or, simply, Música Mineira. These terms refer to music composed in colonial times, and, to a... more
This article looks at narratives on music from the Brazilian state of
Minas Gerais, so called Música Colonial Mineira, Música Barroca
Mineira, or, simply, Música Mineira. These terms refer to music
composed in colonial times, and, to a big extent, for liturgical use.
Today, this music continues being interpreted in Minas Gerais by
music groups in churches and on stage in the context of religious
festivals or concerts, often based on manuscripts found in the archives
of local bands or on editions of these manuscripts made by people
seen as “musical authorities” by having studied music. Departing from
a historical contextualization of the music produced during the gold
rush in Minas Gerais, this article examines diverse discourses about
this music, influenced by narratives of historiography coming from
academia as well as local communities. It also shows the role that
these discourses play for musical practice in Minas Gerais today.
https://periodicos.unb.br/index.php/Musica/issue/view/1032
Minas Gerais, so called Música Colonial Mineira, Música Barroca
Mineira, or, simply, Música Mineira. These terms refer to music
composed in colonial times, and, to a big extent, for liturgical use.
Today, this music continues being interpreted in Minas Gerais by
music groups in churches and on stage in the context of religious
festivals or concerts, often based on manuscripts found in the archives
of local bands or on editions of these manuscripts made by people
seen as “musical authorities” by having studied music. Departing from
a historical contextualization of the music produced during the gold
rush in Minas Gerais, this article examines diverse discourses about
this music, influenced by narratives of historiography coming from
academia as well as local communities. It also shows the role that
these discourses play for musical practice in Minas Gerais today.
https://periodicos.unb.br/index.php/Musica/issue/view/1032
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Alge, Barbara, 2014, "The Influence of German Musicology in the Work of Francisco Curt Lange“, Opus. Revista da ANPPOM 20/1, 9-38. http://www.anppom.com.br/opus/en-us/issues/20.1
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This collection consists of audiovisual recordings of Portuguese ritual dances, religious festivities and popular theatre including the performances themselves, their festive context and interviews with resource people. The collection... more
This collection consists of audiovisual recordings of Portuguese ritual dances, religious festivities and popular theatre including the performances themselves, their festive context and interviews with resource people. The collection represents the following:
the stick dance Pauliteiros from the village Constantim (Miranda do Douro, region of Trás-os-Montes) accompanied by the ritual figures of the Carocho and the Velha in the context of St. John the Evangelist festivity (December 2004),
ritual dances called Dança dos Homens and Dança das Donzelas from Lousa (Castelo-Branco, Beira Baixa) in the context of Our Lady of Neves festivity (May 2005),
the sword dance Baile dos Ferreiros from Penafiel (Douro) in the context of Corpus Christi festivity (May 2005),
a Christian and Moor performance called Bugiada from Sobrado (Valongo, region of Douro) in the context of St. John the Baptist festivity (June 2005),
a Christian and Moor performance called Festa dos Caretos from Torre de Dona Chama (Mirandela, region of Trás-os-Montes) in the context of St. Steven festivity (December 2005),
folia performances in the context of a Holy Ghost festivity (Império) in Santa Maria (Azores) (June 2006),
a ritual dance called Dança do Rei David from Braga (region of Minho) in the context of St. John the Baptist festivity (June 2006),
the sword dance Dança das Espadas from Ribeira Brava (Madeira) in the context of St. Peter festivity (July 2006) and
a popular theatre called Auto da Floripes from Neves (Viana do Castelo, region of Minho) in the context of Our Lady of Neves festivity (August 2006).
The main criterion of the recording was that these performances were designated by different authors as "mouriscas". In the 1930s, they were described by the English diplomat and member of the English Folk Dance and Song Society Rodney Gallop and later by folklorists of the Portuguese Estado Novo regime such as Luís Chaves, Rebelo Bonito and others. However, in the context of audiovisual recordings made by Michel Giacometti and the research group under Ernesto Veiga de Oliveira in the 1960s and 1970s, these phenomena were—for unknown reasons—mostly left out.
The recordings build a solid basis for understanding Portuguese popular culture, especially religious festivities and ritual dances, and may serve as sources for cross-cultural studies with similar phenomena internationally. Contrary to Spain and Latin America, Portuguese ritual dances were neglected in ethnomusicological research. The author believes that the recordings are important material for studying the mutual influence between Portugal and Brazil, Portugal and other former Portuguese colonies, as well as for showing the unity between Spanish and Portuguese popular culture and Portuguese cultural phenomena as part of European traditions.
the stick dance Pauliteiros from the village Constantim (Miranda do Douro, region of Trás-os-Montes) accompanied by the ritual figures of the Carocho and the Velha in the context of St. John the Evangelist festivity (December 2004),
ritual dances called Dança dos Homens and Dança das Donzelas from Lousa (Castelo-Branco, Beira Baixa) in the context of Our Lady of Neves festivity (May 2005),
the sword dance Baile dos Ferreiros from Penafiel (Douro) in the context of Corpus Christi festivity (May 2005),
a Christian and Moor performance called Bugiada from Sobrado (Valongo, region of Douro) in the context of St. John the Baptist festivity (June 2005),
a Christian and Moor performance called Festa dos Caretos from Torre de Dona Chama (Mirandela, region of Trás-os-Montes) in the context of St. Steven festivity (December 2005),
folia performances in the context of a Holy Ghost festivity (Império) in Santa Maria (Azores) (June 2006),
a ritual dance called Dança do Rei David from Braga (region of Minho) in the context of St. John the Baptist festivity (June 2006),
the sword dance Dança das Espadas from Ribeira Brava (Madeira) in the context of St. Peter festivity (July 2006) and
a popular theatre called Auto da Floripes from Neves (Viana do Castelo, region of Minho) in the context of Our Lady of Neves festivity (August 2006).
The main criterion of the recording was that these performances were designated by different authors as "mouriscas". In the 1930s, they were described by the English diplomat and member of the English Folk Dance and Song Society Rodney Gallop and later by folklorists of the Portuguese Estado Novo regime such as Luís Chaves, Rebelo Bonito and others. However, in the context of audiovisual recordings made by Michel Giacometti and the research group under Ernesto Veiga de Oliveira in the 1960s and 1970s, these phenomena were—for unknown reasons—mostly left out.
The recordings build a solid basis for understanding Portuguese popular culture, especially religious festivities and ritual dances, and may serve as sources for cross-cultural studies with similar phenomena internationally. Contrary to Spain and Latin America, Portuguese ritual dances were neglected in ethnomusicological research. The author believes that the recordings are important material for studying the mutual influence between Portugal and Brazil, Portugal and other former Portuguese colonies, as well as for showing the unity between Spanish and Portuguese popular culture and Portuguese cultural phenomena as part of European traditions.
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aus Alge und Krämer, 2013, Beyond Borders: Welt-Musik-Pädagogik. Musikpädagogik und Ethnomusikologie im Diskurs, Wissner, 249-256
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Review "Musikethnographien im 21. Jh." (ed. by B. Alge), written by Thomas Nussbaumer
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Andreas Gebesmair, Anja Brunner, and Regina Sperlich. Balkanboom! Eine Geschichte der Balkanmusik in Österreich. Series “Musik und Gesellschaft,” no. 34. Frankfurt am Main: Peter Lang, 2014. 329 pp., bibliography, list of interview partners, index. ISBN 978–3–631–64526–0, 978–3–653–03619–0 (e-book)more
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Reviewed Work(s): Wir singen nicht, wir sind die Jodler. Ethnologische Perspektiven auf das Jodeln im Harz by Helen Hahmann
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O presente trabalho busca apresentar de forma crítica a obra Gold, Festivals, and Music in Southeast Brazil: Sounding Portugueseness (2022, Routledge), de Barbara Alge. Escrito por Suzel Reily
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... My in-tention is to show how individuals in liminal circumstances continuously negotiate their identities, their pasts, their presents, and their imaginary futures, in the production, regulation, and consumption of cultural goods. ...
Research Interests: Cultural Studies, Musicology, Media and Cultural Studies, Art, Globalization, and 12 moreDance Studies, Popular Music, Ethnomusicology, Performance Studies, Mexican Studies, Transnationalism, Border Studies, Cultural Musicology, Electronic Dance Music Culture (EDMC), US-Mexico Borderlands, Electronic Dance Music, and Musicology/Cultural Studies
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Der Titel des vorliegenden Buches ist äußerst präzise gewählt. ist deshalb hervorzuheben. Es geht in dem Buch tatsächlich darum, was der Titel verspricht. Die Arbeit ist in vier Teile gegliedert (ausgenommen die Einführung ins Thema):... more
Der Titel des vorliegenden Buches ist äußerst präzise gewählt. ist deshalb hervorzuheben. Es geht in dem Buch tatsächlich darum, was der Titel verspricht. Die Arbeit ist in vier Teile gegliedert (ausgenommen die Einführung ins Thema): eigene Feldforschungen der Autorin 2004–2007, Forschungen anderer, das Konzept des und seine Verbindung zur und letztlich Schlussfolgerungen. Die (oft mit " Maurentanz " bezeichnet) ist ein Tanzdrama im religiösen Kontext, bei dem es um die Performance der Konstrukte muslimische Feinde der Christen, was auch mit der Geschichte Portugals und der iberischen Halbinsel allgemein zu tun hat. Der dem Sieg der Christen. Die Autorin hat dieses Tanzdrama in drei Orten Nordportugals dokumentiert, verglichen und ausführlich untersucht, was auch musikalische und choreographische Transkriptionen viele Entsprechungen zu diesem Phänomen, die die Autorin durchaus thematisiert. Es handelt sich hier aber nicht um eine konservative vergleichende Tanzforschung, die sich etwa auf Schritte, Handbewegungen und musikalische Strukturen beschränkt, sondern die wird als komplexes Phänomen gesehen und seine kulturpolitische Bedeutung einbezogen: " Die Tatsache, dass Tanz nicht nur ein Spiegel der Gesellschaft ist, sondern dass Kultur im Tanz erfunden werden kann, zeigt sich in der indem sie den Blick als Nationalfeinde darstellt " (S. 280). Das Buch basiert auf der Dissertation der Autorin und weist wohl deshalb eine gewisse wissenschaftliche Überkorrektheit auf, JB2-Phono-Kern_teil2_ok.indd 299