Music worlding in Palau: chanting, atmospheres, and meaningfulness
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
Amsterdam
Amsterdam University Press
[2022]
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| Schriftenreihe: | Global Asia
14 |
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033672355&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| Abstract: | Music Worlding in Palau: Chanting, Atmospheres, and Meaningfulness' is a detailed study of the performing arts in Palau, Micronesia as holistic techniques enabling the experiential corporeality of music's meaningfulness - that distinctly musical way of making sense of the world with which the felt body immediately resonates but which, to a significant extent, escapes interpretive techniques. Drawing on long-term ethnographic research alongside Pacific Islander and neo-phenomenological conceptual frameworks, 'Music Worlding' distinguishes between meaning(s) and meaningfulness in Palauan music-making. These are not binary phenomena, but deeply intertwined. However, unlike meaning, meaningfulness to a significant extent suspends language and is thus often prematurely considered ineffable. The book proposes a broader understanding of how the performing arts give rise to a sense of meaningfulness whose felt-bodily affectivity is pivotal to music-making and lived realities. 'Music Worlding' thus seeks to draw the reader closer to the holistic complexity of music-making both in Palau and more generally. |
| Umfang: | 204 Seiten 13 Illustrationen, Karte (teilweise farbig) |
| ISBN: | 9789463725125 |
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| 520 | 3 | |a Music Worlding in Palau: Chanting, Atmospheres, and Meaningfulness' is a detailed study of the performing arts in Palau, Micronesia as holistic techniques enabling the experiential corporeality of music's meaningfulness - that distinctly musical way of making sense of the world with which the felt body immediately resonates but which, to a significant extent, escapes interpretive techniques. Drawing on long-term ethnographic research alongside Pacific Islander and neo-phenomenological conceptual frameworks, 'Music Worlding' distinguishes between meaning(s) and meaningfulness in Palauan music-making. These are not binary phenomena, but deeply intertwined. However, unlike meaning, meaningfulness to a significant extent suspends language and is thus often prematurely considered ineffable. The book proposes a broader understanding of how the performing arts give rise to a sense of meaningfulness whose felt-bodily affectivity is pivotal to music-making and lived realities. 'Music Worlding' thus seeks to draw the reader closer to the holistic complexity of music-making both in Palau and more generally. | |
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Datensatz im Suchindex
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| adam_text | Table of Contents Acknowledgments ii Music Worlding in Palau: An Introduction Meaningfulness Music Worlding Intensity Atmospheres This Book Music Worlding in Palau Music Worlding in Palau: The Background 15 17 19 24 29 33 34 38 Latmikaik’s Children and Their Music Palau North Atlantic narratives of Palauan history Meaningfulness Schmitz on Meaningfulness Surfaceless: Beyond the Binaries Musical Meaning | Musical Meaningfulness Musical Meaningfulness and Atmospheres 53 56 61 64 66 69 74 78 1 2 Vaguely Specific: Resonant Historicity with Chesóls Chesóls Meaningfulness Suggestions of Motion Sound’s History Lives on Intensity: A Closer Look Musical Meaningfulness as Latently Historical Conclusion 3 Listening with the Dancing Body: Ruk and Movement’s Incipiency A Sense of Klebelau: Going through the Motions The Body Complex and Sound Schmitz and the Threshold Preacceleration | Suggestions of Motion The Dance of the Not-Yet in New Phenomenological Perspective: Suggestions of Motion in Palauan Ruk Body percussion 85 88 90 93 96 97 100 105 107 110 111 112 115 118
Group shouts Rhythmic layering and densification Conclusion: The Body in Sound and Motion 120 121 123 4 “Rak, Where Is He Now?” Presence | Present Present, Presence, Meaningfulness Omengeredákl Sense Effects I Presence Effects Music, Meaning, and Meaningfulness Meaningfully Present 129 131 133 139 141 144 5 Resonance: Co-Becoming with Sound Ngerulmud 2006: The Mother Bat Resonance Resonance: Conceptual Implications Revisiting the Mother Bat Conclusion 149 150 152 156 157 158 6 Of Magic and Meaningfulness: Chelitákl Rechuódel and the Felt-bodily Dimensions of Spiritual Practice Magic I Olái Present-day Magic Magically Meaningful 163 165 168 170 Conclusion 175 Glossary 181 Bibliography 183 Index 203 List of Maps, Illustrations, Sound Examples and Tables Map Mapi Political map of Palau 10
Illustrations Figure i Bai ornament in Ngril as documented by Augustin Krämer during the Hamburg South Seas Expedition. (Krämer 1929b, double plate 26) Kramer’s description: “A depiction ‘of the singer Goldegól, who came from Nggèiangël to the south on the old kaberúög boat with his baskets full of songs to help build the dock of Ngarekamáis (right), left Ngarekobasáng’.” (KETC 2017c, 41) 14 Figure 2 Bai ornament in Gurdmau (Ngardmau) as documented by Augustin Krämer during the Hamburg South Seas Expedition. (Krämer 1929b, double plate 14) Krämer’s description: “[T]o the left the Pleiades which the god steers, to the left of his head a figure resembling a nose clamp = the crab gamáng, to the left of it a pair of fire tongs = the angle gogádu, far upper left (right angle) bar aikngot, below aingúkl (the 3 “fire stones).” (KETC 2017c, 63) 52 Figure з An illustration of the story of Chuab. Gable detail of the Belau National Museum bai at Koror. Photo by author. 59 Figure 4 Unidentified crew members and brass band of the German MS Condor on a visit in Palau in 1911. From the collection of Dieter Klein, Düsseldorf (Germany). 62 Figure 5 Unidentified Palauans with an accordion. Undated (but most likely from the first decade of the 20th cen tury). From the collection of Dieter Klein, Düsseldorf (Germany). 63 Figure 6 Bai ornament in Galáp (Ngaraard) as documented by Augustin Krämer during the Hamburg South Seas Expedition. (Krämer 1929b, double plate 16) Krämer’s description: “The terrible singer, right Ngardórok, left Ngarsúl, right center dance platform with men in women’s
skirts performing the ruk dance, far left the singer, who when his wife (left of him) came, went away with her, after which the remaining also left before the performance was finished and complained.” (KETC 2017c, 82) 84 Figure 7 Bai ornament in Ngardmau as documented by Augustin Krämer during the Hamburg South Seas Expedition. (Krämer 1929b, double plate 23) Krämer’s
description: “[R]uk dancers with galéped clubs in the hands; far left the galid Golongil [...] in whose honor the dance occured.” (KETC 2017c, 62) Figure 8 Waveform of օ’ւշ”-օ’շշ , Video example 1, twodimensionally displaying time (horizontal axis) and acoustic intensity (vertical axis). G = group (i.e., all dancers shouting/singing); BP = body percussion. Figure 9 Waveform of 0’04”-0’12”, Video example 1, twodimensionally displaying time (horizontal axis) and acoustic intensity (vertical axis). G = group shout (i.e., all dancers shouting/singing); BP = body percussion. Figure 10 Bai ornament in Galáp (Ngaraard) as documented by Augustin Krämer during the Hamburg South Seas Expedition. (Krämer 1929b, double plate 14) Kramer’s description: “[T]he woman who guides the Pleiades; left the rock Gogiběrámes with the 2 trees, then following on at right the stone pier Gades a galid, at the head of which the woman guide sits, enchanting / charming the Pleiades, the star constellation to the left of the heavens’ guide Derungúľlau (center), to the right the constellation gogádu, named after the fire tongs, as that tool forms an angle; behind him Derungúľlau the jar-shaped gongau, far right the large star gomeráed, to the left of the woman guide her son, who is scaring her, so that her hair turned white, to the right of her a half moon.” (KETC 2017c, 56) 128 Figure 11 Bai ornament in Keklau as documented by Augustin Krämer during the Hamburg South Seas Expedition. (Krämer 1929b, double plate 11) Krämer’s description: “[T]he spirit in Ilětemú; left Ngardmau with flying fox, house with
spikes, to the right cave of the mother and she herself, center: a man with Góléi and fishing nets, finding the bowl with the stomach, right Góléi, high spirited people.” (KETC 2017c, 60) 148 Figure 12 Bai ornament in Ngabuked as documented by Augustin Krämer during the Hamburg South Seas Expedition. (Krämer 1929b, double plate 1) Krämer’s description: “[T]he Gomsaubukl magic, left Ngeaur, right Nggeiangel, under the palms the sea with the following fishes 104 119 120
Figure 13 from left: 2 gadéng (shark), 1 tungg, kemedúkl, 1 kilérs re komedáol, 1 gadéng 1 bial.” (KETC 2017c, 50) Bai ornament in Koror as documented by Augustin Krämer during the Hamburg South Seas Expedition. (Krämer 1929b, double plate 6) Krämer’s description: “[T]he land Bigáket, the food land [...], left women dancing, right men, center the sea as divider. The women most clearly show the begel [...] as stimulants.” (KETC 2017c, 117) Sound Examples Chapter 1 Sound example 1 E-Reberbong. Chesóls chanted by Wilhelm Rengiil, Koror/Palau, recorded by the author on 14 February 2005. 162 174 54 Chapter 2 Sound example 2 Chesóls, chanted on the occasion of a Women’s Conference in Koror/Palau, recorded by the author in the early 2000s. Sound example 3 Chesóls, chanted by Rengulbai Ruluked (* around 1900 in Melekeok) on 28 Septem ber 1963. Recorded by Barbara B. Smith. Chapter 3 Video example 1 Ruk, performed by dancers from Ngaraard dur ing the Olechotel Belau Fair 2012. o’oo”-o’58”. Recorded by Simeon Adelbai, September 2012. Chapter 4 Sound example 4 Omengeredákl/keredekiil, performed by Lucy Orrukem (*1907 in Koror), Cheluil (*1894 in Airai), Diratuchoi (*1904 in Koror), Risong (*1903 in Melekeok) and Dilliaur (* 1902 in Peleliu) on 20 September 1963 in Koror/Palau. Recorded by Barbara B. Smith. Table Table i Rough visual presentation of attacks (x) over time per part, o’oo”-o’57” ofVideo example i. C = clapping; s = stomping; g = group shouts/singing; m = mesuchokl (soloist). 121 86 89 117 135
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| spellingShingle | Abels, Birgit 1980- Music worlding in Palau chanting, atmospheres, and meaningfulness Global Asia Musikleben (DE-588)4075128-4 gnd Musik (DE-588)4040802-4 gnd |
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| title | Music worlding in Palau chanting, atmospheres, and meaningfulness |
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| title_exact_search | Music worlding in Palau chanting, atmospheres, and meaningfulness |
| title_full | Music worlding in Palau chanting, atmospheres, and meaningfulness Birgit Abels |
| title_fullStr | Music worlding in Palau chanting, atmospheres, and meaningfulness Birgit Abels |
| title_full_unstemmed | Music worlding in Palau chanting, atmospheres, and meaningfulness Birgit Abels |
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| topic_facet | Musikleben Musik Palauinseln |
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