- Taschenbuch: 380 Seiten
- Verlag: Univ of Washington Pr; Auflage: Pap/Com (August 2001)
- Sprache: Englisch
- ISBN-10: 0295981121
- ISBN-13: 978-0295981123
- Größe und/oder Gewicht: 23,6 x 15,7 x 2,6 cm
- Durchschnittliche Kundenbewertung: 4.5 von 5 Sternen Alle Rezensionen anzeigen (2 Kundenrezensionen)
- Amazon Bestseller-Rang: Nr. 412.063 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Produktbeschreibungen
Pressestimmen
"Dr. Pegg has made full use of what is truly a unique opportunity, by recording performances, interviewing 'practitioners' including even shamanesses (who were thought to have vanished from socialist society) and presenting the recovery of tradition against her analysis of the previous regime's attempts to repudiate its existence." - Charles Bawden, Emeritus Professor of Mongolian, University of London "This is the most comprehensive account of Mongolian music available. Carole Pegg has crafted a detailed account of the peformance arts of Mongolia, focussing on the different ethnic groups who inhabit the state proper and its bordering areas in China and Siberia. It is an ethnography in the old tradition, broad-ranging and all-encompassing. It is also based on an exhaustive bibliography of Mongolian, Russian, and European sources... She has spent the last fifteen years researching this book, a period which involved five fieldtrips... We must be sensitive when we listen to the Mongols, and to their ever-fascinating and multi-faceted performance arts--like Pegg has done."--ASIAN AFFAIRS, June 2002
Kurzbeschreibung
This book celebrates the power of music, dance, and oral narrative to create identities by imaginatively connecting performers and audiences with ethnic and political groupings, global and sacred landscapes, histories and heroes, spirits and gods. Three distinct cultural eras of Mongolian society are represented. Many Mongols are now performing publicly the diverse traditions of Old Mongolia that they practiced in private following the communist revolution of 1921; some are perpetuating the Soviet transformations of those traditions introduced prior to 1990; and yet others are dipping their curly-toed boots into new performance arts as they revel in musical encounters on the global stage.By highlighting the sheer variety of repertories, this book illustrates the rich diversity of Mongolia's peoples and performance arts. An accompanying compact disc contains musical examples linked to the text. Carole Pegg is ethnomusicology editor for the "New Grove Dictionary of Music and Musicians" and associate lecturer in social anthropology at the University of Cambridge, England. As an ethno-musicologist and musician she has been working with nomadic groups in remote areas of Mongolia and Inner Mongolia, China, and with urban Mongols in both countries since 1987. She has also toured with Mongol musicians in England and Hong Kong.
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Format:Taschenbuch
Carol Pegg is teacher for anthropology and musicology in the UK. She travelled to Mongolia several times during the socialist period and after the revolution in 1991.
The book contains a lot of information about several aspects of mongolian music. The different tribes and nationalities are described, several different musical traditions, musical instruments and dances.
It contains also a dicitonary with lot of musical terms mongolian-english, about 20 song texts of urtin duu (the long song) and precise explanation of dance ceremonies (nair).
The book comes with a CD having about 36 tracks recorded on excursions in Mongolia. There are lot of Morin Huur pieces, some long songs, some examples for tsuur and other instruments.
In one chapter is explained how the socialist regime of the Russians influenced the music between the 30ies and 1990 and how musicians could work during that time.
Carol explains also the specialities of the different "nationalities" in Mongolia. About 30 so-called "yastan" - tribe names or ancient smaller nations - are known, and each of them has a different style, different instruments and songs.
Because the book is academic, it is accompained with a very long list of citations and references to other books, which is very useful to introduce oneself into literature about mongolian culture.
Knowledge of Mongolian language is not required to understand this book, but helpful for understanding the long-songs. Every song has latin transliterations of cyrillic/classical mongolian script and mostly an english translation.
Despite of it's academical character it is easy to read for people already having exerience with mongolian music. It helps to understand the musical traditions and the performances of ancient and "new" music.
The book contains a lot of information about several aspects of mongolian music. The different tribes and nationalities are described, several different musical traditions, musical instruments and dances.
It contains also a dicitonary with lot of musical terms mongolian-english, about 20 song texts of urtin duu (the long song) and precise explanation of dance ceremonies (nair).
The book comes with a CD having about 36 tracks recorded on excursions in Mongolia. There are lot of Morin Huur pieces, some long songs, some examples for tsuur and other instruments.
In one chapter is explained how the socialist regime of the Russians influenced the music between the 30ies and 1990 and how musicians could work during that time.
Carol explains also the specialities of the different "nationalities" in Mongolia. About 30 so-called "yastan" - tribe names or ancient smaller nations - are known, and each of them has a different style, different instruments and songs.
Because the book is academic, it is accompained with a very long list of citations and references to other books, which is very useful to introduce oneself into literature about mongolian culture.
Knowledge of Mongolian language is not required to understand this book, but helpful for understanding the long-songs. Every song has latin transliterations of cyrillic/classical mongolian script and mostly an english translation.
Despite of it's academical character it is easy to read for people already having exerience with mongolian music. It helps to understand the musical traditions and the performances of ancient and "new" music.
Format:Taschenbuch
Über mongolische Musik gibt es kaum umfassende Werke. Das letzte grosse ist das von Henning Haslund-Christensen 1942. So gibt es kaum Vergleiche. Carole Pegg (die frühere Ikone der Folkband Mr. Fox) geht detailliert und liebevoll auf alle möglichen Bereiche der mongolischen Musik ein: Wir finden die traditionelle Pferdekopfgeige ebenso vertreten wie die Popsängerinnen Saraa und Ariunaa, lamaistische wie schamanistische Rituale. Dazu endlich eine Arbeit, die auf regionale Unterschiede eingeht.
Gegliedert ist das Buch etwas anstrengend in "Ethnicity, History, and Place", "Embodying Spiritual Landscapes", "Sociality, Time, and Space", und "Transforming Political Identities", was auf die anthropologische Schiene hinweist. Die CD dazu ist ist hörenswert und bietet einen fast umfassenden Überblick über die heutige mongolische Musik (allein die CD rechtfertigt den Kauf des Buches, da sie Folklore und Schönfärberei aussen vorlässt). Bisschen schade, dass die Beispiele gekürzt sind. Das Buch ist ein wissenschaftliches Standardwerk einer der wenigen westlichen SpezialistInnen der mongolischen Musik (neben Peter K. Marsh, Alain Desjacques, Andrea Nixon und o.g. Haslund-Christensen), das mir unbedingt empfehlenswert scheint, für MusikethnologInnen wie für Liebhaber!
Gegliedert ist das Buch etwas anstrengend in "Ethnicity, History, and Place", "Embodying Spiritual Landscapes", "Sociality, Time, and Space", und "Transforming Political Identities", was auf die anthropologische Schiene hinweist. Die CD dazu ist ist hörenswert und bietet einen fast umfassenden Überblick über die heutige mongolische Musik (allein die CD rechtfertigt den Kauf des Buches, da sie Folklore und Schönfärberei aussen vorlässt). Bisschen schade, dass die Beispiele gekürzt sind. Das Buch ist ein wissenschaftliches Standardwerk einer der wenigen westlichen SpezialistInnen der mongolischen Musik (neben Peter K. Marsh, Alain Desjacques, Andrea Nixon und o.g. Haslund-Christensen), das mir unbedingt empfehlenswert scheint, für MusikethnologInnen wie für Liebhaber!
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