fuhr2010

Fuhr, Jenny: Experiencing Rhythm : Contemporary Malagasy Music and Identity. Ph.D. University of Southampton, 2010. xv & 246 p.

CONTENTS

List of illustrations ix
List of accompanying material xi
Author’s declaration xiii
Acknowledgements xv

Section 1
Introduction 1

Section 2

Chapter 2.1 
Theorising ‘rhythm’
Introduction 11
Literature review 12
“Contemporary Malagasy music” (Randrianary 2001) and
the lova-tsofina 17
The ‘6/8 rhythm’ and the role of rhythm in the musicians’
search for identity 19
Introduction: the concept of ‘rhythm’ 21
The concepts of ‘metre’ and ‘measure’ – different interpretations
and understandings 22
Rhythm in African music and the invention of new terms 26
Example: Discourse on rhythm in Cuban music 33
Rhythm in culture and language 34
Malagasy rhythm(s) 41

Chapter 2.2
Methodological reflections: integrating musical experiences into ethnomusicological research
Introduction 47
Key terms: Experiences and Self-Other dichotomy 49
Theorising Fieldwork
    Historical reflections 50
    The idea of ‘Self’ and ‘Other’ within fieldwork 53
    Experiences: ‘narrativisation of experiences’ and
    “musical being-in-the-world” (Titon 1997) 54
    ‘New fieldwork’ in ethnomusicology 56
The importance of integrating both, the analysis of discourses
and musical practices 58
“Towards a (more) performative ethnomusicology” (Baily 2008) 58
Why there is a need to participate musically 59
Understanding musically 62
“Presumption of Sameness” (Agawu 2003) and “Subject-Centred Ethnography” (Rice 2003) 67

Chapter 2.3
Fieldwork experiences
Introduction 73
Development of my research 73
The role of Antananarivo 76
Some reflections on my fieldwork in Antananarivo 78
Development of my musical practices 82
The interrelation of analyses of discourses and musical
experiences – Outlook: Section 3 87

Section 3
Introduction section 3 – Analyses 89

Chapter 3.1
Contesting the ‘6/8 rhythm’
Introduction 91
Speech about music / Language and identity 92
The presence of the term ‘6/8 rhythm’ in the musicians’
discourses 96
The ‘6/8 rhythm’ as used in Western musicology 96
‘6/8 rhythm’ meets lova-tsofina 99
The importance of the research context 99
The term ‘6/8 rhythm’ in the Malagasy context 101
    The musicians’ usage of the term ‘6/8 rhythm’:
    identification or taking distance? 101
    Terminological confusion 108
    Example salegy 108
The challenge of the international ‘world music market’ – musicians’ individual experiences: perspectives and strategies 113
Conclusion 119

Chapter 3.2
Exploring the lova-tsofina: Musician’s theories on the origin and meaning of ‘rhythm’ in Malagasy music
Introduction 121
The importance of listening to the musicians’ own concepts 122
The topoi 122
    Environment 124
    Everyday life 131
    Language 138
    Dance 143
    Influences from outside 146
    Emotions and spiritual ideas 148
Conclusion155

Chapter 3.3
Experiencing Rhythm
Introduction 157
The musical experience of ‘rhythm’ 158
    Composing and ‘malagasising’ tunes 161
    Tapping feet, counting, and clapping 166
    Intercultural musical encounters – examples of musicians’ experiences 169
Participating musically myself 173
The interrelation of discourses and musical experiences 174
Examples:
    The importance of the lova-tsofina 175
     ‘6/8 rhythm’ and the opportunity of binaries and ternaries 176
    Engaging in ‘malagasising’ music 179
    The importance of language and lyrics 182
    The importance of the instrument and its playing technique 184
    The emphasis on personality/individuality in Malagasy music 189
Outlook / further research possibilities 194
Conclusion 198

Section 4
Conclusion 201

Appendices
Appendix I
English translations of interview quotes (section 3) 209
Appendix II
List of all interviews conducted 227

Bibliography 231