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Drones, Tones, and Timbres: Sounding Place Among Nomads of the Inner Asian Mountain-Steppes.
・ISBN 978-0-252-04545-5 hard US$ 85.00
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お気に入り
★★★
| 著者・編者 | Pegg, Carole, |
|---|---|
| 出版社 | (University of Illinois Press, US) |
| 出版年月 | 2024 |
| ページ数 | 344 pp. |
| 言語 | ENG |
| ニュース番号 | ＜A04-16756＞ |
解説
An indispensable study of the music of Altai-Sayan peoples
Based on more than twenty years of collaborative research, Carole Pegg's long-awaited participatory ethnography explores how Indigenous nomadic peoples of Russia's southern Siberian republics (Altai, Khakassia, Tyva) sound multiphonies of place in a post-Soviet global world. Inspired by the mountain-steppe ecology and pathways of nomadism, soundscapes created in performative ritual events cross political and multiple-world boundaries in a shamanic-animist universe, enabling human and spirit actor interactions in a series of sensuous worlds. As with the "throat-singing" for which Indigenous Altai-Sayan peoples are famous, senses of place involve sonic relations, rootedness, movement, and plurality. Pegg echoes their drone-partials musical and ontological models in an innovative theoretical entwinement. Three strands form the book's multivocal drone, the partials of which sound in each chapter: ontological sonicality and musicality that enables emplacement and movement; the importance of shamanism-animism--at the core of Indigenous spiritual practices--for personhood and community; and the agency of sonic performances. Sounding place, Pegg demonstrates, is essential to the identities, ways of life, and very senses of being of Indigenous Altai-Sayan peoples.
Based on more than twenty years of collaborative research, Carole Pegg's long-awaited participatory ethnography explores how Indigenous nomadic peoples of Russia's southern Siberian republics (Altai, Khakassia, Tyva) sound multiphonies of place in a post-Soviet global world. Inspired by the mountain-steppe ecology and pathways of nomadism, soundscapes created in performative ritual events cross political and multiple-world boundaries in a shamanic-animist universe, enabling human and spirit actor interactions in a series of sensuous worlds. As with the "throat-singing" for which Indigenous Altai-Sayan peoples are famous, senses of place involve sonic relations, rootedness, movement, and plurality. Pegg echoes their drone-partials musical and ontological models in an innovative theoretical entwinement. Three strands form the book's multivocal drone, the partials of which sound in each chapter: ontological sonicality and musicality that enables emplacement and movement; the importance of shamanism-animism--at the core of Indigenous spiritual practices--for personhood and community; and the agency of sonic performances. Sounding place, Pegg demonstrates, is essential to the identities, ways of life, and very senses of being of Indigenous Altai-Sayan peoples.