Audiovisual Media in Public Ethnomusicology and Education: A Sardinian Experience
Keywords:
audiovisual ethnomusicology, Sardinian music, public ethnomusicology, multimedia, sound heritageAbstract
In recent decades, audiovisual media has been increasingly used in ethnomusicological research. If we consider how scholars use them, four main areas of application can be identified: 1) data analysis, 2) documentary films, 3) public ethnomusicology, 4) educational use.
This article presents some audiovisual products on traditional instrumental and vocal music as well as improvised sung poetry in Sardinia (Italy) on which I have worked over the last few years - including the visual representation of musical and poetic forms, and also audiovisual products for exhibitions, museums and multimedia encyclopaedias. My aim is to discuss the role played by ethnomusicologist in conceiving new strategies for the visual representation of the music of oral tradition in different productive contexts and audiovisual outputs.
References
Adamo, Giorgio. 2010. Vedere la musica. Lucca: Libreria Musicale Italiana.
Baily, John. 1988. “ICTM Colloquium on Film and Video”. Yearbook for Traditional Music 20: 193–198.
Bentzon, Andreas F. W. 1969. The Launeddas: A Sardinian Folk Music Instrument, 2 voll., Acta Musicologica Danica n° 1. Copenaghen: Akademisk Forlag.
Burckhardt Qureshi, Regula. 1987. “Musical Sound and Contextual Input: A Performance Model for Musical Analysis”. Ethnomusicology 31 (1): 56–86.
Cámara De Landa, Enrique, Leonardo D’Amico, Matías Isolabella and Terada Yoshitaka, eds. 2016. Ethnomusicology and Audiovisual Communication: Selected Papers from the MusiCam 2014 Symposium. Valladolid: University of Valladolid.
Carpitella, Diego. 1981. Filmare la musica, booklet presenting the programme of the V Seminario di Etnomusicologia dell’Accademia Musicale Chigiana, 27–31 July.
Casu, Francesco and Marco Lutzu, eds. 2012. Enciclopedia della Musica Sarda, 16 volumes, 9 DVDs and 7 CDs. Cagliari: L’Unione Sarda.
Clayton, Martin, Byron Dueck and Laura Leante, eds. 2013. Experience and Meaning in Music Performance. New York: Oxford University Press.
Clayton, Martin, Laura Leante and Simone Tarsitani. 2021. “The Use of Static Video in Ethnomusicological Research. Methodological Developments and Analytical Applications”. In Sounding Frames. Itinerari di musicologia visuale Scritti in onore di Giorgio Adamo, edited by Alessandro Cosentino, Raffaele Di Mauro and Giuseppe Giordano, 39–52. Palermo: Edizioni Museo Pasqualino.
D’Amico, Leonardo. 2020. Audiovisual Ethnomusicology: Filming Musical Cultures. Bern: Peter Lang.
Dauer, Alfons M. 1969. “Research Films in Ethnomusicology: Aims and Achievements”. Yearbook of the International Folk Music Council, 1: 226–233.
Feld, Steven. 1976. “Ethnomusicology and Visual Communication”. Ethnomusicology 20 (2): 293–325.
Ferrarini, Lorenzo and Nicola Scaldaferri. 2020. Sonic Ethnography: Identity, Heritage and Creative Research Practice in Basilicata, Southern Italy. Manchester: Manchester University Press.
Ghirardini, Cristina, ed. 2020. Reflecting on Hornbostel-Sachs’s Versuch a Century Later. Proceeding of the International Meeting: Venice, 3-4 July 2015, Venezia: Fondazione Levi.
Guizzi, Febo. 2002. Gli strumenti della musica popolare in Italia. Lucca: Libreria Musicale Italiana.
Kubik, Gerhard. 1965. “Transcription of Mangwilo Xylophone Music from Film Strips”. African Music 3 (4): 35–51.
Kubik, Gerhard. 1972. “Transcription of African Music from Silent Film: Theory and Methods”. African Music 5 (2): 28–39.
Kunst, Jaap. 1955. Ethno-musicology: A Study of Its Nature, Its Problems, Methods and Representative Personalities to which is Added a Bibliograph. the Hague: Martinus Nijhoff.
Leante, Laura. 2016. “Observing Musicians/Audience Interaction in North Indian Classical Music Performance”. In Musicians and their Audiences: Performance, Speech and Mediation, edited by Ioannis Tsioulakis and Elina Hytönen-Ng, 34–43. Abingdon: Routledge.
Lutzu, Marco. 2012. “Launeddas”, in Enciclopedia della Musica Sarda, edited by Francesco Casu and Marco Lutzu, vol. 11 and 12. Cagliari: L’Unione Sarda.
Lutzu, Marco. 2016. “Representing Performance in Ethnomusicological Studies”. Dossier “Analysis Beyond Notation in XXth and XXIst Century Music” edited by Alessandro Bratus e Marco Lutzu. El oído pensante 4 (1), http://ppct.caicyt.gov.ar/index.php/oidopensante/article/view/8037/9050.
Magrini, Tullia. 1992. Universi Sonori: introduzione all’etnomusicologia. Torino: Einaudi.
Pettan, Svanibor and Jeff T. Titon, eds. 2019. Public Ethnomusicology, Education, Archives, & Commerce, An Oxford Handbook of Applied Ethnomusicology, Volume 3. New York: Oxford University Press.
Seeger, Anthony. 2008. “Theories Forged in the Crucible of Action: The Joys, Dangers, and Potentials of Advocacy and Fieldwork.” In Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology, edited by Gregory Barz and Timothy J. Cooley, 271–288. New York: Oxford University Press.
Seeger, Anthony and Shubha Chaudhuri, eds. 2004. Archives for the Future: Global Perspectives on Audiovisual Archives in the 21st Century. Calcutta: Seagull Books.
Titon, Jeff T. 1992a. “Representation and Authority in Ethnographic Film/Video: Production”. Ethnomusicology 36 (1): 89–94.
Titon, Jeff T. 1992b. “Music, the Public Interest, and the Practice of Ethnomusicology”. Ethnomusicology 36 (3): 315–322.
Vallier, John. 2017. “Preserving the Past, Activating the Future: Collaborative Archiving in Ethnomusicology”. In Ethnomusicology: A Contemporary Reader, Volume II, edited by Jenifer C. Post, 307–317. New York and London: Routledge.
Zedda, Paolo. 2008. L’arte de is mutetus: il canto e l'improvvisazione nei poeti sardi del Campidano. Iesa: Gorée.
Zedda, Paolo. 2009. “The Southern Sardinian Tradition of the Mutetu Longu: A Functional Analysis”. Oral Tradition 24 (1): 3–40.
Zemp, Hugo. 1988. “Filming Music and Looking at Music Films”. Ethnomusicology 32 (3): 393–427.
Zemp, Hugo.1990. “Visualizing Music Structure Through Animation: The Making of the Film Head Voice, Chest Voice”. Visual Anthropology 3 (1): 65–79.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported License.
You are free to:
- Share — copy and redistribute the material in any medium or format.
The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
-
Ауторство — You must give appropriate credit, provide a link to the license, and indicate if changes were made.
You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. -
Некомерцијално — You may not use the material for commercial purposes.
-
NoDerivatives — If you remix, transform, or build upon the material, you may not distribute the modified material.
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
