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Roma music and emotion / Filippo Bonini Baraldi ; translated by Margaret Rigaud.
LIBRA ML3608.7.T7 B6613 2021
Available from offsite location
- Format:
- Book
- Author/Creator:
- Bonini Baraldi, Filippo, 1976- author.
- Standardized Title:
- Tsiganes, musique et empathie. English
- Language:
- English
- French
- Subjects (All):
- Romanies--Romania--Transylvania--Music--History and criticism.
- Romanies.
- Music--Social aspects.
- Manners and customs.
- Romania--Transylvania.
- Music.
- Romanies--Romania--Transylvania--Social life and customs.
- Music--Social aspects--Romania--Transylvania.
- Emotions in music.
- Romanies--Social life and customs.
- Genre:
- Criticism, interpretation, etc.
- Music.
- Physical Description:
- xxvii, 335 pages, 16 unnumbered pages of plates : illustrations (some color) ; 25 cm
- Place of Publication:
- New York, NY : Oxford University Press, [2021]
- Summary:
- "By combining long-term field research with hypotheses from the cognitive sciences, this book proposes a groundbreaking anthropological theory on the emotional power of music. It highlights a human tendency to engage in empathic relations through and with the musical artefacts, veritable "sonic agents" for which we can fell pity, compassion, or sympathy. The theory originates from a detailed ethnography of the musical life of a small Roma community of Transylvania (Romania), where Filippo Bonini Baraldi lived several years, seeking an answer to intriguing questions such as: why do the Roma cry while playing music? What lies behind their ability to move their customers? What happens when instrumental music and wailing voices come together at funerals? Through the analysis of numerous weddings, funeral wakes, community celebrations and intimate family gatherings, the Author shows that music and weeping go hand in hand, revealing fundamental tensions between unity and division, life and death, the self and the others. Tensions that the Roma enhance, overemphasize and perceive as central to their identity. In addition to improve our understanding of a community still shrouded in stereotypes, this book is an important contribution for research on musical emotion, which thus far has focused almost exclusively on Western classical music"-- Provided by publisher.
- Contents:
- Machine generated contents note: Musical emotions: from the lab to the field
- The Roma community of Ceuas
- Is emotion necessarily associated with music?
- "Good music makes you cry": methodological approach
- pt. 1 MUSICAL EMOTIONS: WHEN AND WHY DO THEY ARISE?
- SECTION 1 PERFORMING FOR OTHERS, PERFORMING FOR ONESELF
- 1. The professional ethics of the Roma musicians of Ceuas
- Customer service
- "Stay in your place"
- Emotion makers?
- 2. Village celebrations
- A Hungarian banquet in Ceuas
- I
- II
- III
- A Roma wedding in Laslau Mic
- Similarities and differences
- 3. How to make music work, how to arouse emotions
- How to make music work
- Playing for every "nation"
- Playing for every "region"
- Playing for each "person"
- A flexible conception of the repertoire
- The emotion at the end of the festivities
- Making music resonate deep within the soul of the customers
- The emotions of the musicians
- 4. After the "service": Time to party in tiganie
- The drive back home
- Back in tiganie
- The tears of the musicians
- The after-parties that follow the service
- 5. Other occasions when musical emotions can arise in tiganie
- Minor official celebrations
- A baptism among friends
- At home
- At home with Csangalo, a professional musician (A3)
- At home with Bela, an amateur musician (A4)
- At home with Ikola, a semiprofessional singer (A5)
- Crying with music in tiganie
- 6. A musical experience of being inwardly torn apart
- The suparare
- In your head and heart
- "Affecting" and "affected" characters
- The emotions behind the tears
- Nostalgia?
- Ancestor worship?
- "Brothers in song"?
- Feeling inwardly torn apart
- Performing for others, performing for oneself
- SECTION 2 PERFORMING FOR THE DEAD, AROUSING PITY IN THE LIVING
- 7. Funerals and the politics of emotion
- A new configuration of the world
- The living and the dead
- The ceremonies
- Great men versus lesser men
- The musicians
- "Relatives" versus "outsiders"
- Crying "with full throat" versus crying "inside"
- Unfixed categories
- The politics of emotion
- The emotional dimensions of the funeral ritual
- The dead versus the living: piety versus fear
- The relatives versus outsiders: pity versus shame
- The space of ritual actions
- 8. The soundscape of a funeral wake
- A heterogeneous soundscape
- Analysis of the soundscape of a funeral
- Crying "with full throat": a case study
- Transcriptions
- Textual analysis
- The acoustic characteristics of the weeping voice
- Musicological analysis
- Instrumental music
- A suite with a rising tempo
- The song of the deceased: playing for one, playing for them all
- Relational musical emotions
- Conclusion
- pt. 2 WHY DO THE ROMA OF CEUAS CRY WITH MUSIC?
- 9. Musical emotions in the Roma community of Ceuas: A concentric model
- Comparing the three contexts of musical tears
- My model's weaknesses and strengths
- The invariants of musical emotion
- 10. Performing sorrow
- De jale tunes: a case study
- The irregularities of the aksak rhythm
- Rhythmical measures using sound analysis
- Method
- Data coding
- Results
- Rhythmical measures using motion capture
- Discussion on aksak measures
- Asynchronization between melody and accompaniment
- Measuring asynchronies by using motion capture
- Discussion on asynchronization
- The effect of "sweetness" created by the phrasing and ornamentation
- Two studies on musical sweetness
- Discussion on sweetness
- De jale tunes: conclusion
- 11. Personal tunes
- "That's my tune!"
- To "own" a song, it has to be "in your heart"
- Methodological clarifications
- What the Roma of Ceuas have to say about their own personal melodies
- What the Roma of Ceuas have to say about the melodies of others
- Uncertain musical identities
- 12. Being milos
- The mila: a way of being and behaving
- "Roma are more milosi": an emotional minority?
- The mild and musical emotion
- pt. 3 MUSIC, EMOTION, AND EMPATHY
- 13. What is musical empathy?
- Empathy and music: conceptual frameworks
- Ethnomusicological perspectives on empathy
- Intersubjective empathy
- Aesthetic empathy
- Gestural empathy and embodied musical cognition
- The usefulness of theories of empathy
- 14. Toward an anthropological approach to musical empathy
- Alfred Gell and music
- "Art and Agency"
- Applying Gell's model to music
- Anthropological perspectives on musical empathy
- Emotion, empathy, and agency -
- The referent of musical empathy
- Empathy with the "musical being"
- Empathy for the artist
- Empathy for musical memory-images
- Intersubjective musical empathy
- The performance context
- Personal melodies and distributed persons
- Becoming attached to a de jale tune
- Roma music and emotion.
- Notes:
- Translated from the French.
- Includes bibliographical references and index.
- Other Format:
- Online version: Bonini Baraldi, Filippo, 1976- Roma music and emotion
- ISBN:
- 9780190096786
- 0190096780
- 9780190096793
- 0190096799
- OCLC:
- 1200039139
- Publisher Number:
- 99987920687
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