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The music of Manden in New York City...

van Buren, Thomas.

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The music of Manden in New York City: A study of applied ethnomusicology in a western African immigrant community.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The music of Manden in New York City: A study of applied ethnomusicology in a western African immigrant community./
作者:	van Buren, Thomas.
面頁冊數:	313 p.
附註:	Director: Carolina Robertson.
Contained By:	Dissertation Abstracts International62-03A.
標題:	Anthropology, Cultural. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3009073
ISBN:	0493188207

The music of Manden in New York City: A study of applied ethnomusicology in a western African immigrant community.
van Buren, Thomas.

The music of Manden in New York City: A study of applied ethnomusicology in a western African immigrant community. - 313 p.

Director: Carolina Robertson.

Thesis (Ph.D.)--University of Maryland College Park, 2001.

Musical practice in the West African immigrant communities of the Manden heritage within New York City blends the historical experience of the intercultural balance in the historical context of the Empire of Mali, with the social and cultural dynamic of the community in the late twentieth century urban North America. This study presents the findings of ethnographic research about the Manden cultural community in New York City, including its history, socio-economic structure, and cultural life as they are represented through itinerant hereditary musicians, the Manden <italic>jalilu,</italic> drummers, and dancers.

ISBN: 0493188207Subjects--Topical Terms:

735016
Anthropology, Cultural.

The music of Manden in New York City: A study of applied ethnomusicology in a western African immigrant community.
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245 1 0 $a The music of Manden in New York City: A study of applied ethnomusicology in a western African immigrant community.
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502 $a Thesis (Ph.D.)--University of Maryland College Park, 2001.
520 $a Musical practice in the West African immigrant communities of the Manden heritage within New York City blends the historical experience of the intercultural balance in the historical context of the Empire of Mali, with the social and cultural dynamic of the community in the late twentieth century urban North America. This study presents the findings of ethnographic research about the Manden cultural community in New York City, including its history, socio-economic structure, and cultural life as they are represented through itinerant hereditary musicians, the Manden <italic>jalilu,</italic> drummers, and dancers.
520 $a The ethnographic information gathered in this study resulted from an interactive process of building an advisory committee representing the communities in question, and from fieldwork supporting three major annual concert productions that addressed different facets of Manden culture and its evolution in New York City. Applied programs in music and folklore are often driven by the mandate to represent a peoples' folk or root culture, but in doing so they may simplify cultural forms, sometimes reducing the culture in question to externally driven concepts of tradition. This study documents an attempt to counteract this reduction through extended research, and an intercultural collaboration in event production and documentation.
520 $a This research is documented through recorded interviews, field notes, audio and video recording of performances, and photography. The documentation is made for two purposes: to collect ethnographic information and to present and analyze examples of performance in various contexts. The performances are analyzed for style, lyrical content and performance practice to demonstrate cultural change and adaptation to new audiences, venues and interpretive frames.
520 $a This documentation and analysis shows: (1) that Manden culture has adapted well through the immigration process, both because of the inherent intercultural dynamic of this performance form and because of the resiliency and adaptability of the practitioners; and (2) that the collaboration toward the presentation of performances encouraged an intercultural interpretation of this culture through: the performances themselves; the private committee centered evaluation; and through the video documentation; and (3) that an externally motivated collaboration cannot escape the inherent pitfalls of intervention, remaining fundamentally external to the community.
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