Acoustic Entanglements: Negotiating Folk Music in Naiyeṇṭi mqỊam Performance.
Using fieldwork and ethnographic research, it is my intention in this article to privilege the voices of contemporary Tamil folk musicians and show how their performances of folk music often contradict and diverge from the hegemonic tropes of popular music discourse. Focusing on one of the more well...
| Publicado en: | Indian Folklore Research Journal Vol. 6; no. 9; pp. 45 - 67 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
National Folklore Support Centre
2009
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=48917251&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 48917251 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 09726462 3ANU jtl: Indian Folklore Research Journal issn: 09726462 maglogo: N pubinfo: dt: 2009 vid: 6 iid: 9 pid: 28326 pub: National Folklore Support Centre artinfo: ui: 48917251 ppf: 45 ppct: 22 formats: fmt: @attributes: type: P size: 160KB tig: atl: Acoustic Entanglements: Negotiating Folk Music in Naiyeṇṭi mqỊam Performance. aug: au: Paige, Aaron affil: PhD student, Wesleyan University, USA su: Folk music Sound Musical performance Tamil (Indic people) India sug: subj: India Folk music Sound Musical performance Tamil (Indic people) ab: Using fieldwork and ethnographic research, it is my intention in this article to privilege the voices of contemporary Tamil folk musicians and show how their performances of folk music often contradict and diverge from the hegemonic tropes of popular music discourse. Focusing on one of the more well-known and ubiquitous folk music genres in Tamil Nadu, the naiyāṇṭi mēḷam, I hope to upset the prevailing fiction of folk music as a tradition-bound phenomenon, occupying its own discrete musical space. Listening to the voices of naiyāṇṭi mēḷam folk musicians and paying careful attention to their musics will reveal that these folk artists are actively engaged in complex performance practices that cut across cultural categories and resist facile definition. In order to please their audiences, these musicians are adept in playing not only prescribed ritual "folk" music but film music and Carnatic music as well. Borrowing and refashioning a mixture of sounds from radio, film, cassette, and CD, the naiyāṇṭi mēḷam exhibits a wide range of genres and styles that go well beyond the confines of "folk." In this article I will argue that both film and Carnatic music are not separate from, but rather central to, the performance of many naiyāṇṭi mēḷam groups. In appropriating elements from these various genres, and carefully and cleverly reframing them in performance, folk musicians express multiple musical affinities that extend beyond the boundaries of traditional music rooted in local circumstance. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Indian Folklore Research Journal is the property of National Folklore Support Centre and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Indian Folklore Research Journal holder: National Folklore Support Centre dt: @attributes: year: 2009 holdings: @attributes: islocal: N |
|---|