John Blacking – författare

This collection of essays and articles provides a detailed analysis of both the music and the cultural significance of children's songs among the Venda people of the northern Transvaal, South Africa. Among the various topics covered is the role of melody in generating rhythm, something that distinguishes this form of music from that of Venda adults as well as from other genres of African music in general. John Blacking (1928-1990) also wrote "How Musical is Man" and "The Anthropology of the Body".

One of the most important ethnomusicologists of the century, John Blacking is known for his interest in the relationship of music to biology, psychology, dance and politics. He attempted to document the ways in which music-making expresses the human condition, how it transcends social divisions and how it can be used to improve the quality of human life. This volume brings together eight of Blacking's most important theoretical papers which reveal his theoretical themes such as the innateness of musical ability, the properties of music as a symbolic or quasi-linguistic system, the complex relation between music and social institutions and the relation between scientific musical analysis and cultural understanding.

One of the most important ethnomusicologists of the century, John Blacking is known for his interest in the relationship of music to biology, psychology, dance and politics. He attempted to document the ways in which music-making expresses the human condition, how it transcends social divisions and how it can be used to improve the quality of human life. This volume brings together eight of Blacking's most important theoretical papers which reveal his theoretical themes such as the innateness of musical ability, the properties of music as a symbolic or quasi-linguistic system, the complex relation between music and social institutions and the relation between scientific musical analysis and cultural understanding.

This important study in ethnomusicology is an attempt by the author -- a musician who has become a social anthropologist -- to compare his experiences of music-making in different cultures. He is here presenting new information resulting from his research into African music, especially among the Venda. Venda music, he discovered is in its way no less complex in structure than European music. Literacy and the invention of nation may generate extended musical structures, but they express differences of degree, and not the difference in kind that is implied by the distinction between ‘art’ and ‘folk’ music. Many, if not all, of music’s essential processes may be found in the constitution of the human body and in patterns of interaction of human bodies in society. Thus all music is structurally, as well as functionally, ‘folk’ music in the sense that music cannot be transmitted of have meaning without associations between people.If John Blacking’s guess about the biological and social origins of music is correct, or even only partly correct, it would generate new ideas about the nature of musicality, the role of music in education and its general role in societies which (like the Venda in the context of their traditional economy) will have more leisure time as automation increases.

This study of Polish folk music is especially enlightening as it reveals both the history and practice of a musical tradition and offers an illuminating view of a culture and its social activities. Within her study, Anna Czekanowska analyses the vocal and instrumental traditions of Polish folk music, tracing the background history, the influences of geography and politics, and the practice, often within contemporary society, of such social events as the harvest, the solstice and weddings. The function of folk culture within contemporary life, for both Polish and non-Polish inhabitants of the country, is also examined. Professor Czekanowska also discusses the birth of Polish ethno- musicology as a discipline and details some methodological aspects for research. This study contributes to a greater understanding and appreciation of Polish music and, in a wider aspect, of Slavonic culture. The book contains numerous illustrations of instruments and cultural events, music examples, maps, a discography and bibliography.

Taking Grainger's views as his starting point and heading each chapter with a quotation from Grainger's writings, John Blacking restates and reflects upon observations and attitudes relevant to contemporary problems of ethnomusicology and music education. Professor Blacking discusses these issues in the light of his own research, musical experience and convictions.

The tradition of Persian art music embodies twelve modal systems, known as dastgahs. Each dastgah represents a complex of skeletal melodic models on the basis of which a performer produces extemporised pieces. The dastgahs revolve around unspecified central nuclear melodies which the individual musician comes to know through experience and absorption. It is a personal and elusive tradition of great subtlety and depth. Through extensive research, including interviews with leading musicians and recording over one hundred hours of music, Hormoz Farhat has unravelled the art of the dastgah. In his study Professor Farhat analyses the intervallic structure, melodic patterns, modulations, and improvisations within each dastgah, and examines the composed pieces which have become a part of the classical repertoire in recent times.

No detailed description available for "e;The Performing Arts"e;.

No detailed description available for "The Performing Arts".