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Singing God’s words: the performance of biblical chant in contemporary Judaism
Ethnomusicology Forum Pub Date : 2019-05-04 , DOI: 10.1080/17411912.2019.1677166
Lillian M. Wohl 1
Affiliation  

about Korean music and cultural traditions was relatively poor, needs careful commentary, but none is offered. And, Lee’s comment that the marked presence of females in non-Korean groups at festivals, given that Korean bands were ‘traditionally associated with only men’, is conspicuous (106), ignores the women’s bands that were active in Korea’s southwest from the 1950s onwards, 30 years before the four-man SamulNori took to the stage. Chapter 5 explores how the foreign groups struggled in the 2008 festival to add their own material to a second samulnori composition, Pinari. As all performed the piece together, the complexity of its chant – which involves classical Sino-Korean and relates the Korean shamanic creation story (as given in the important Appendix 1, a translation by Byoung Sug Kim and Ji-Yeon Yuh) – ensured it failed to go global. We hear how, as the Korean masters of samulnori came out on top, it ‘made for an impressive display of nationalistic spirit and pride in South Korea’s cultural prowess’ (129). While this latter comment suggests much, Lee returns to the global circulation of music in her epilogue, arguing that dynamic rhythmic structures offer greater affordance than difficult-to-interpret vocalisations. The global reach of samulnori, then, has been enabled first because of the connections that SamulNori has made with global audiences, second because fans fascinated by the rhythmic dynamism of the genre have become practitioners, and third because these fans-turned-practitioners participate in the reinterpretation and re-creation of tradition at World SamulNori Festivals. I have no argument with this, but, with Lee’s core text running to only 137 pages, I am left wanting more.

中文翻译:

唱出神的话语:圣经圣歌在当代犹太教中的表现

关于韩国​​音乐和文化传统的内容相对较差,需要仔细评论,但没有提供。而且,鉴于韩国乐队“传统上只与男性联系在一起”,Lee 的评论很明显(106),在节日期间非韩国团体中女性的显着存在忽略了从 1950 年代开始活跃在韩国西南部的女性乐队30 年前,四人 SamulNori 登上舞台。第 5 章探讨了外国团体如何在 2008 年的节日中努力将他们自己的材料添加到第二部 samulnori 作品 Pinari 中。当所有人一起演奏这首曲子时,其吟唱的复杂性——涉及古典中韩语并涉及韩国萨满教的创作故事(如重要的附录 1 所示,由 Byoung Sug Kim 和 Ji-Yeon Yuh 翻译)——确保了它未能走向全球。我们听说,当韩国的 samulnori 大师脱颖而出时,它“令人印象深刻地展示了民族主义精神和对韩国文化实力的自豪感”(129)。虽然后一种评论暗示了很多,但李在她的结语中回到了音乐的全球流通,认为动态节奏结构比难以解释的发声提供了更大的可供性。那么,samulnori 的全球影响力首先是因为 SamulNori 与全球观众建立了联系,其次是因为对这种流派的节奏活力着迷的粉丝已经成为了从业者,第三是因为这些从粉丝转变为从业者参与在世界 SamulNori 节上重新诠释和重新创造传统。我对此没有异议,但是,李的核心文本只有 137 页,
更新日期:2019-05-04
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