fuhr2013

/by

Fuhr, Jenny:
Experiencing Rhythm : Contemporary Malagasy Music and Identity.
Newcastle upon Tyne: Cambridge Scholars Publishing, 2013. ix & 195 p.
ISBN 978-1-4438-5057-6

CONTENTS

List of Illustrations viii
Acknowledgements ix

Chapter One
Music in Contemporary Madagascar 1
Introduction
“Contemporary Malagasy Music” (Randrianary 2001):
   “6/8 rhythm” meets Lova-tsolina
Fieldwork Experiences
Outline

Chapter Two 
Theorising “Rhythm” 23
Introduction
What is “Rhythm”?
The Concepts of “Metre” and “Measure” – Different
   Interpretations and Understandings
Rhythm in African Music and the Invention of New Terms
Rhythm in Culture and Language
Malagasy Rhythin(s)

Chapter Three 
Musicking Researchers and Researching Musicians 47
Introduction
Key Terms
The Idea of “Sell’ and “Other” within Ethnographic Fieldwork
The Notion of “Experience”: “Narrativisation of Experiences”
   and “Musical being-in-the-world” (Titon 1997)
The Importance of Integrating the Analysis of Discourses
   and Musical Practices
“Towards a (more) Performative Ethnomusicology” (Baily 2008)
Understanding Musically
“Presumption of Sameness” (Agawu 2003) and
   “Subject-centred Ethnography” (Rice 2003)

Chapter Four 
Contesting the “6/8 Rhythm” 70
Introduction
The Importance of the Research Context
The ”6/8 rhythm” as used in Western Musicology
The Musicians’ Usage of the Term: Identification or
   Taking Distance? Terminological Confusion
Example Salegy
The Challenge of the International “World Music Market” and
   Musicians’ Individual Experiences: Perspectives and Strategies
Conclusion

Chapter Five
Exploring the Lora-tsofina: Musicians’ Theories on the Origin and Meaning of “Rhythm” in Malagasy Music 99
Introduction
The Importance of Listening to the Musicians’
   Own Concepts
The Topoi
Environment
Everyday Life
Language
Dance
Influences From Outside
Emotions and Spiritual Ideas
Conclusion

Chapter Six
Experiencing “Rhythm” 143
Introduction
Composing and “Malagasising” Tunes
Tapping Feet, Counting, and Clapping
Intercultural Musical Encounters-Examples of
   Musicians’ Experiences
Participating Musically Myself
Examples
The Importance of Lova-tsofina
“6/8 rhythm” and the Opportunity of Binaries
   and Ternaries
Engaging in “Malagasising” Music
The importance of Language and Lyrics
The Importance of the Instrument and its
   Playing Technique
The Emphasis on Personality and Individuality
   in Malagasy Music
Conclusion

Chapter Seven
Conclusion 178

Bibliography 181
Index 194

wallis&malm1984tanzania assonne2013

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    AFRICA

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    Guinea 26
    Guinea-Bissau 29
    Cape Verde 29
    Sierra Leone 31
    Côte d’Ivoire 32
    Ghana 34
    Togo and Benin 36
    Nigeria 37

    Central Africa, The South and East
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    Zaire 49
    Congo 56
    Gabon 56
    Angola 57
    Zambia 58
    Mozambique 59
    Zimbabwe 60
    South Africa 65
    Madagascar 70
    Mauritius and Reunion 71
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    Kenya 74
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