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題 名 | Changing Symbols: The Indigenization of South Asian Wedding Bands=轉變的象徵符號:南亞婚禮樂隊的本土化 |
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作 者 | Booth,Gregory D.; | 書刊名 | 民俗曲藝 |
卷 期 | 144 2004.06[民93.06] |
頁 次 | 頁127-162 |
專 輯 | 「亞洲樂器、物質文化與意義:民族樂器學芻議」專輯 |
分類號 | 910.937 |
關鍵詞 | 管樂隊; 殖民主義; 音樂變遷; 行進音樂; 南亞; Brass bands; Colonialism; Musical change; Processional music; South Asia; |
語 文 | 英文(English) |
中文摘要 | 行進軍樂隊是十九世紀及二十世紀初歐洲或美國殖民主義的一個極為重要的音樂象徵,經常具體展現著「西方」政治和文化力量橫跨全球的霸權角色。南亞地區對歐洲行進樂隊的接納和調整大約始於十九世紀上半葉,然而之後卻形成了全球最大的企業化管樂隊傳統,受到大眾對於此種樂隊在婚禮行列中的需求所支持。透過一個由本地主導而兼具互動,性的文化過程,並以一個顯然較其殖民來源更重要的方式,這些源自英國的印度樂器不僅在行進性儀式的新潮流及傳統中,並且也在南亞文化中古了一個重要而特殊的位置。 整個南亞地區的婚禮行列和其音樂以及伴奏的樂隊,顯示了音樂文化和演奏實際 (樂器和樂隊是其中一部分) 外顯的象徵意義在過去兩個世紀之中已歷經了轉變。在印度所發生的曲目、配器法和合奏形式的改變,是象徵意義轉變過程的一部分,雖然這種轉變並非因殖民而起始,但無疑地曾受其影響。管樂隊傳統提供了關於音樂變遷的一個特別複雜但非常值得探討的例子,因為樂器(而且只有樂器)對於南E行進文化來說已成為一個恆常不變的要素。南亞管樂隊作為象徵的重要性依然保持著,但其實際的象徵意義卻已轉變,不論是樂器的「本土」特質,或是在南亞文化中樂隊的地位,都是如此。 |
英文摘要 | Processional military ensembles are the ultimate musical symbols of nineteenth- and early twentieth-century European or American colonialism, frequently embodying the hegemonic role of “Western” political and cultural efforts across the globe. The South Asian adoption and adaptation of European processional ensembles, however, which most probably began in the first half of the nineteenth century, resulted in the largest entrepreneurial brass band tradition on the planet supported by public demand for such ensembles in wedding processions. In a locally determined but interactive cultural process, and in ways that are demon strably more significant than their colonial origins, these Indian instruments of British ancestry occupy important niches in the fashion and tradition of processional ritual and in South Asian culture. Wedding processions, their music, and accompanying ensembles throughout South Asia demonstrate the ongoing flow of externalized meaning as the symbolism of music culture and performance practice, of which these instruments and ensembles are a part, have been transformed over the preceding two centuries. The changes in repertoire, instrumentation, and ensemble that have taken place in India are part of a process of symbolic transformation that was not initiated by the colonial presence but was certainly altered by it. The band tradition offers an especially complex but ultimately rewarding example of musical change because the musical instruments (and only the musical instruments) have grown into a constant in terms of South Asian processional culture. The symbolic importance of South Asian brass bands has remained, but the actual meaning of that symbolism has altered, both in terms of the “indigenous” qualities of the instruments and the place of the ensembles in South Asian culture. |
本系統中英文摘要資訊取自各篇刊載內容。