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	<title>Knowledge Commons | Ruard Absaroka | Group Activity</title>
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	<description>Public group activity feed of which Ruard Absaroka is a member.</description>
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				<title>Vivien Jiaqian Zhu started the topic CFP 2026 MLA Convention in the forum Ethnomusicology</title>
				<link>https://hcommons.org/groups/ethnomusicology/forum/topic/cfp-2026-mla-convention-11/</link>
				<pubDate>Tue, 04 Feb 2025 22:45:27 -0500</pubDate>

									<content:encoded><![CDATA[<p>Dear All,</p>
<p>&nbsp;</p>
<p>I’m pleased to share with you the Call for Paper for the Working Group/Seminar session for the upcoming MLA Convention in Toronto. See <a href="https://mla.confex.com/mla/2026/webprogrampreliminary/Paper29934.html" rel="nofollow ugc">https://mla.confex.com/mla/2026/webprogrampreliminary/Paper29934.html</a>.</p>
<p>&nbsp;</p>
<p>Best wishes,</p>
<p>Vivien Jiaqian Zhu</p>
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				<title>Joao Silva deposited Early Portuguese recordings for The Gramophone Company (1900—1908) and the establishment of a phonographic market in Portugal in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1879675/</link>
				<pubDate>Sat, 16 Mar 2024 03:00:38 -0400</pubDate>

									<content:encoded><![CDATA[<p>My article strives to study phonography in Portugal between the 1900 recording sessions for The Gramophone Company and the company’s first significant Portuguese catalogue, printed in December 1908. I aim to trace the transformations undertaken in the discs and repertoires along with their segmentation during the first decade of Portuguese p&hellip;<span class="activity-read-more" id="activity-read-more-1879675"><a href="https://hcommons.org/activity/p/1879675/" rel="nofollow ugc">[Read more]</a></span></p>
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				<guid isPermaLink="false">7cd3645c21d1554cabd03ac01605595f</guid>
				<title>Alicia Colson deposited WHAT DO THESE SYMBOLS MEAN? A CRITICAL REVIEW OF THE IMAGES FOUND ON THE ROCKS OF THE CANADIAN SHIELD WITH SPECIFIC REFERENCE TO THE PICTOGRAPHS OF THE LAKE OF THE WOODS in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1868532/</link>
				<pubDate>Tue, 19 Dec 2023 03:03:51 -0500</pubDate>

									<content:encoded><![CDATA[<p>Review of the literature on pictograph sites in the Canadian Shield with specific reference to those found in the Lake of the Woods, in north-western Ontario, Canada.</p>
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				<title>Bernd Brabec deposited Auditive Wissenskulturen: Wissen, Macht und die Welt der Klänge in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1856723/</link>
				<pubDate>Mon, 28 Aug 2023 01:11:36 -0400</pubDate>

									<content:encoded><![CDATA[<p>In der Einleitung zum Sammelband Auditive Wissenskulturen – Das Wissen klanglicher Praxis stellen die Autoren zuerst die Diskrepanzen der jeweiligen Beziehungen des Visuellen und des Auditiven zu Wissen anhand einiger Beispiele vor. Sie exemplifzieren auch, wie sowohl auditive Praxis als auch die Hervorbringung und Vermittlung von Wissen in s&hellip;<span class="activity-read-more" id="activity-read-more-1856723"><a href="https://hcommons.org/activity/p/1856723/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Kaleb E. Goldschmitt deposited From Miami to Hong Kong SoundingTransnational Queerness and Translation in Moonlight in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1837949/</link>
				<pubDate>Mon, 20 Mar 2023 02:23:44 -0400</pubDate>

									<content:encoded><![CDATA[<p>Through the example of Barry Jenkins’ choices for Moonlight (2016), this chapter argues that pre-existing musical cues can link a film’s themes to other minority filmmaking traditions. The song at the center of this chapter, "Cucurrucucú Paloma," exemplifies the kinds of cultural translations common in transnational queer cinema. It was orig&hellip;<span class="activity-read-more" id="activity-read-more-1837949"><a href="https://hcommons.org/activity/p/1837949/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Bernd Brabec deposited Academic (In)Discipline, Research (In)Sanity and the Conundrum of (Indigenous) Timescapes in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1836012/</link>
				<pubDate>Fri, 03 Mar 2023 02:24:27 -0500</pubDate>

									<content:encoded><![CDATA[<p>This contribution focuses on strategies to bridge what in anthropology is called ontological incommensurability: Indigenous worlds often seem inaccessible to modern thought. Instead of trying to open Indigenous worlds to Westerners, I rather intend to make Western worlds accessible to Indigenous thought; and likewise, academic disciplines&hellip;<span class="activity-read-more" id="activity-read-more-1836012"><a href="https://hcommons.org/activity/p/1836012/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Gavin Holman deposited The Brass Band Bibliography (v17 - 2023) in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1835394/</link>
				<pubDate>Sat, 25 Feb 2023 02:24:39 -0500</pubDate>

									<content:encoded><![CDATA[<p>A comprehensive list of books, articles, theses, and other material covering the brass band movement, its history, instruments and musicology; together with other related topics (originally issued in book form in January 2009. [c. 12, 710 entries]</p>
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				<title>Susanne Wosnitzka deposited Beethovens und Mozarts verschollene Oboenkonzert-Manuskripte: Eine gemeinsame 'heiße Spur' in Augsburg in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1827258/</link>
				<pubDate>Wed, 21 Dec 2022 02:25:45 -0500</pubDate>

									<content:encoded><![CDATA[<p>Im Jahr 2002 kam die fast verzweifelte Suche nach Beethovens verschollenem Oboenkonzert zu einem vorläufigen Ende, weil die Forschung an dieser Stelle nicht weiterkam. Jetzt habe ich neue Hinweise auf das autographe Dokument gefunden – und auch auf Mozarts verschollenes Oboenkonzert sowie auf eine unbekannte Oper von Joseph Haydn. Es ist kein Zu&hellip;<span class="activity-read-more" id="activity-read-more-1827258"><a href="https://hcommons.org/activity/p/1827258/" rel="nofollow ugc">[Read more]</a></span></p>
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				<guid isPermaLink="false">db842889cf683a57866e3711679f4c95</guid>
				<title>Susanne Wosnitzka deposited Beethoven's and Mozart's Lost Oboe Concerto Manuscripts: A New Lead in Augsburg in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1827254/</link>
				<pubDate>Wed, 21 Dec 2022 02:24:43 -0500</pubDate>

									<content:encoded><![CDATA[<p>In 2002 the research for Beethoven's lost oboe concerto came to a temporary end. Now I've found new leads to the autograph manuscript – and to Mozart's lost oboe concerto, too, and to a lost opera of Joseph Haydn. It is no coincidence that all autograph manuscripts are missing at the same time: They were together and possibly are, played in a c&hellip;<span class="activity-read-more" id="activity-read-more-1827254"><a href="https://hcommons.org/activity/p/1827254/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Gavin Holman deposited A fanfare of orphans - the brass band of the St-Georges-de-l'Isle orphanage in Saint-Fraimbault-de-Prières in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1793074/</link>
				<pubDate>Wed, 07 Sep 2022 02:23:40 -0400</pubDate>

									<content:encoded><![CDATA[<p>An example of the brass bands established by various children's homes, orphanages and similar institutions, around the world in the early 20th century. This French orphanage fanfare band was founded on charitable principles, to give the children musical training and discipline, and to help raise funds for the home.</p>
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				<title>Arun Luthra started the topic Songs of the India independence movement in the Carnatic music tradition in the discussion Ethnomusicology</title>
				<link>https://hcommons.org/groups/ethnomusicology/forum/topic/songs-of-the-india-independence-movement-in-the-carnatic-music-tradition-2/</link>
				<pubDate>Thu, 18 Aug 2022 19:29:33 -0400</pubDate>

									<content:encoded><![CDATA[<p>Hello, Everyone–</p>
<p>My video file is too large to attach to this post, so here is the link to my social media post: <a href="https://twitter.com/ArunLuthra/status/1559252306738049026" rel="nofollow ugc">https://twitter.com/ArunLuthra/status/1559252306738049026</a>.</p>
<p>Can anyone point me in the direction of recordings, oral histories, writing, etc. on the type of songs which V. Sriram is talking about in this interview?  The video is an ex&hellip;<span class="activity-read-more" id="activity-read-more-1790915"><a href="https://hcommons.org/groups/ethnomusicology/forum/topic/songs-of-the-india-independence-movement-in-the-carnatic-music-tradition-2/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Frans Wiering replied to the topic What Do Musicologists Do All Day? Please participate in our survey in the discussion Ethnomusicology</title>
				<link>https://hcommons.org/groups/ethnomusicology/forum/topic/what-do-musicologists-do-all-day-please-participate-in-our-survey/#post-58580</link>
				<pubDate>Fri, 20 May 2022 13:11:18 -0400</pubDate>

									<content:encoded><![CDATA[<p>Friendly reminder: we will close the survey on Thursday 26 May. If you haven't participated yet, please consider doing so now!</p>
<p>many thanks,</p>
<p>Frans Wiering</p>
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				<title>Frans Wiering started the topic What Do Musicologists Do All Day? Please participate in our survey in the discussion Ethnomusicology</title>
				<link>https://hcommons.org/groups/ethnomusicology/forum/topic/what-do-musicologists-do-all-day-please-participate-in-our-survey/</link>
				<pubDate>Wed, 06 Apr 2022 12:56:01 -0400</pubDate>

									<content:encoded><![CDATA[<p>[apologies for multiple postings]</p>
<p>In <strong>What Do Musicologists Do All Day</strong> (WDMDAD) we are investigating the use of technology in the work of music researchers in the widest sense. Building on our 2014-2015 survey, we're now seeking insight in how your views on and use of technology have been affected by the Covid-19 pandemic. To participate in our&hellip;<span class="activity-read-more" id="activity-read-more-1777469"><a href="https://hcommons.org/groups/ethnomusicology/forum/topic/what-do-musicologists-do-all-day-please-participate-in-our-survey/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Gavin Holman deposited Mauston Ladies' Ideal Band in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1770589/</link>
				<pubDate>Sun, 06 Feb 2022 02:24:10 -0500</pubDate>

									<content:encoded><![CDATA[<p>A look at the brief history of this band from central Wisconsin in the 1880's</p>
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				<title>Amadeu Corbera Jaume deposited El «musicólogo transterrado». Los escritos etnomusicológicos de Baltasar Samper en México (1947-1964) in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1761920/</link>
				<pubDate>Sun, 19 Dec 2021 02:23:38 -0500</pubDate>

									<content:encoded><![CDATA[<p>En este artículo presentamos una primera aproximación a un conjunto de textos hasta ahora desconocidos del músico y musicólogo catalán exiliado Baltasar Samper, responsable, desde 1947 y hasta su muerte, de dirigir los trabajos etnomusicológicos de la Sección de Investigaciones Musicales del Instituto Nacional de Bellas Artes mexicano. Con esto q&hellip;<span class="activity-read-more" id="activity-read-more-1761920"><a href="https://hcommons.org/activity/p/1761920/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Bruno Buike deposited Thousand perls - Korobeiniki - piano - audio in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1757316/</link>
				<pubDate>Mon, 01 Nov 2021 02:23:44 -0400</pubDate>

									<content:encoded><![CDATA[<p>BB 41 -  Es funkeln tausend Perlen in demGlas in meiner Hand - Thousand perls - piano solo -<br />
paraphrase of Rebrov-version "Poj Zigan" from N.Nekrasov`s 1861  Коробейники peddler  / Коробушка, box (of peddlers) - audio</p>
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				<title>Bruno Buike deposited Tousand perls - Korobeiniki - piano - sheetmusic in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1757315/</link>
				<pubDate>Mon, 01 Nov 2021 02:23:38 -0400</pubDate>

									<content:encoded><![CDATA[<p>BB 41 - Es funkeln tausend Perlen in dem Glas in meiner Hand - Thousand perls - piano solo  -<br />
paraphrase of Rebrov-version "Poj Zigan" from the poem Korobeiniki Коробейники peddler  / Коробушка, box (of peddlers) by  N.Nekrasov`s 1861 - sheetmusic</p>
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				<title>Bruno Buike deposited O sanctissima - Christmas merry go round - organ - audio in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1757072/</link>
				<pubDate>Fri, 29 Oct 2021 02:28:09 -0400</pubDate>

									<content:encoded><![CDATA[<p>BB 38 - O sanctissima – O du froehliche - Weihnachtliche Spielmusik – Christmas Merry Go Round<br />
- great organ - audio</p>
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				<title>Bruno Buike deposited O sanctissima - O du froehliche - Christmas merry go round - organ - sheetmusic in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1757070/</link>
				<pubDate>Fri, 29 Oct 2021 02:27:15 -0400</pubDate>

									<content:encoded><![CDATA[<p>BB 38 - O sanctissima – O du froehliche - Weihnachtliche Spielmusik – - Christmas Merry Go Round - great organ - sheetmusic - 2010, 2nd ed.<br />
- said from Sicilian origin, not confirmed nor verified</p>
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				<title>Bruno Buike deposited Daughter Zion - Prelude - organ - audio in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1757068/</link>
				<pubDate>Fri, 29 Oct 2021 02:26:21 -0400</pubDate>

									<content:encoded><![CDATA[<p>BB 37 - Prelude Daughter Zion - great organ - 2010, 2nd. ed. - audio</p>
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				<title>Bruno Buike deposited Daughter Zion - Prelude - great organ -sheetmusic in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1757066/</link>
				<pubDate>Fri, 29 Oct 2021 02:25:27 -0400</pubDate>

									<content:encoded><![CDATA[<p>BB 37 - Präludium Tochter Zion - Prelude Daughter Zion - great organ - - sheetmusic - 2010, 2nd ed.</p>
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				<title>Larisa Mann deposited Booming at the Margins: Ethnic Radio, Intimacy, and Nonlinear Innovation in Media in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1757062/</link>
				<pubDate>Fri, 29 Oct 2021 02:24:18 -0400</pubDate>

									<content:encoded><![CDATA[<p>Pirate radio still flourishes in dense, multiethnic cities such as Brooklyn, New York, despite the rise of Web radio. For immigrants in particular, radio sounds mark identity and community and (re)claim social spaces of work, commutes, and the home. It is not only lack of access to digital technologies or broadband that shapes radio’s relevance, b&hellip;<span class="activity-read-more" id="activity-read-more-1757062"><a href="https://hcommons.org/activity/p/1757062/" rel="nofollow ugc">[Read more]</a></span></p>
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				<guid isPermaLink="false">8fea762d050161eb81e4c476fd9c5b7d</guid>
				<title>Larisa Mann deposited White Faces in Intimate Spaces: Jamaican Popular Music in Global Circulation in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1757059/</link>
				<pubDate>Fri, 29 Oct 2021 02:24:04 -0400</pubDate>

									<content:encoded><![CDATA[<p>This study explores Jamaican popular music's changing engagement with globally networked media technologies. It combines ethnographic analysis of the street dance as a site of urban poor and Black resistance to colonial institutions with an analysis of song lyrics about video cameras at street dances. Newly networked technologies for circulating&hellip;<span class="activity-read-more" id="activity-read-more-1757059"><a href="https://hcommons.org/activity/p/1757059/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Bruno Buike deposited Lonely bell - Kolokoltshik - piano - audio in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1755991/</link>
				<pubDate>Wed, 20 Oct 2021 02:24:20 -0400</pubDate>

									<content:encoded><![CDATA[<p>BB 9-2 - Kolokoltshik – Колоколъчик (odnozutshno gremit kolokoltshik - Однозвучно<br />
гремит колокольчик ) - Eintönig klingt das Glöckchen - lonely bell - T.: I. Makarov – И.Макаров<br />
M.: first Alexander Lvovich Gurilev (1853?) - А. Гурилев - here: melody of K. Sidorowicz / K.<br />
Сидорович - piano - audio</p>
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				<title>Bruno Buike deposited Lonely bell - Kolokoltshik - piano - sheetmusic in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1755990/</link>
				<pubDate>Wed, 20 Oct 2021 02:24:17 -0400</pubDate>

									<content:encoded><![CDATA[<p>BB 9-2 - Kolokoltshik – Колоколъчик (odnozutshno gremit kolokoltshik - Однозвучно<br />
гремит колокольчик ) - Eintönig klingt das Glöckchen - lonely bell - T.: I. Makarov – И.Макаров - M.: first Alexander - Lvovich Gurilev (1853?) - А. - Гурилев - here: melody of K. Sidorowicz / K.<br />
Сидорович - piano- sheetmusic</p>
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				<title>Bruno Buike deposited Lonely bell - Kolokoltshik - vibraphones - sheetmusic in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1755989/</link>
				<pubDate>Wed, 20 Oct 2021 02:24:14 -0400</pubDate>

									<content:encoded><![CDATA[<p>BB 9-1 - Kolokoltshik – Колоколъчик (odnozutshno gremit kolokoltshik)<br />
Eintönig klingt das Glöckchen - lonely bell T.: I. Makarov – И.Макаров - M.: first Alexander Lvovich Gurilev (1853?) - А. Гурилев -  here: melody of K. Sidorowicz / K. Сидорович - 2 vibraphones solo - sheetmusic</p>
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				<title>Bruno Buike deposited Maros river - Gipsy tune - video in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1755987/</link>
				<pubDate>Wed, 20 Oct 2021 02:24:07 -0400</pubDate>

									<content:encoded><![CDATA[<p>Maros River, all ungherese – Gipsy tune – Maros vize folyik cszendesen – piano solo - 2:10 - video (plus music plus pics from maros / Mures river)</p>
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				<title>Bruno Buike deposited Maros River - Hungarian Gipsy - audio in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1755982/</link>
				<pubDate>Wed, 20 Oct 2021 02:23:45 -0400</pubDate>

									<content:encoded><![CDATA[<p>Maros River, all ungherese - Maros vize folyik csendesen – piano solo - 1:05 / 2:10 - audio</p>
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				<title>Bruno Buike deposited Maros river - al ungearese - Gipsy tune - sheetmusic in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1755981/</link>
				<pubDate>Wed, 20 Oct 2021 02:23:39 -0400</pubDate>

									<content:encoded><![CDATA[<p>Maros River, all ungherese – Gipsy tune – Maros vize folyik cszendesen – piano solo - pdf - sheetmusic</p>
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				<title>K.E. Goldschmitt deposited Favela Chic in Action: Soundtracking Urban Violence in Rio de Janeiro, Brazil in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1749408/</link>
				<pubDate>Tue, 17 Aug 2021 02:26:12 -0400</pubDate>

									<content:encoded><![CDATA[<p>This chapter is a study of music and violence in action films set in Rio de Janeiro’s poorest neighborhoods. It traces how the Brazilian films Cidade de Deus [City of God] (2002) and Tropa de Elite [Elite Squad] (2007) rely both on visual language that emphasizes hyperrealistic slum violence, and on musical tropes that carry a local meaning l&hellip;<span class="activity-read-more" id="activity-read-more-1749408"><a href="https://hcommons.org/activity/p/1749408/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Alex Enkerli started the topic Learning by Doing and Alternatives to Staff Notation in the discussion Ethnomusicology</title>
				<link>https://hcommons.org/groups/ethnomusicology/forum/topic/learning-by-doing-and-alternatives-to-staff-notation-2/</link>
				<pubDate>Fri, 13 Aug 2021 13:56:08 -0400</pubDate>

									<content:encoded><![CDATA[<p>(Crossposting from the Open Music Theory — Instructor Community)</p>
<blockquote><p>What are instructors' thoughts on using alternatives to staff notation for examples and exercises?</p></blockquote>
<p>Context/disclaimer: I was trained in ethnomusicology and I'm (slowly) conducting field research on electronic musicking.</p>
<p>&nbsp;</p>
<p>In my experience, a focus on "reading music" has b&hellip;<span class="activity-read-more" id="activity-read-more-1749198"><a href="https://hcommons.org/groups/ethnomusicology/forum/topic/learning-by-doing-and-alternatives-to-staff-notation-2/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Larisa Mann deposited Savage intimacy, deviant safety: surveillance technology and club culture in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1745952/</link>
				<pubDate>Fri, 16 Jul 2021 02:24:07 -0400</pubDate>

									<content:encoded><![CDATA[<p>Dance music is a medium and social practice that has in some cases functioned as a site of refuge for people and communities whom mainstream society marks "deviant" or "uncivilized. Foundational movements in dance music emerge from particular spaces and times where communities are able to center bodies and practices that subvert or contradict&hellip;<span class="activity-read-more" id="activity-read-more-1745952"><a href="https://hcommons.org/activity/p/1745952/" rel="nofollow ugc">[Read more]</a></span></p>
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				<guid isPermaLink="false">ed7797523d3ac88928febe4b0f148e0b</guid>
				<title>Larisa Mann deposited Embodied Meaning in Jamaican Popular Music in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1745949/</link>
				<pubDate>Fri, 16 Jul 2021 02:23:49 -0400</pubDate>

									<content:encoded><![CDATA[<p>(First paragraph): "Any DJ could tell you that you don’t know what music really means until you see it in people’s bodies. A DJ establishes a relationship between audio recordings and the crowd, responding to the speed and intensity of their movements, the symbolism of physical attitudes and gestures, their vocalizations, and the simple pre&hellip;<span class="activity-read-more" id="activity-read-more-1745949"><a href="https://hcommons.org/activity/p/1745949/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Amadeu Corbera Jaume deposited Josep Massot i la musicologia catalana in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1740073/</link>
				<pubDate>Sun, 30 May 2021 02:25:05 -0400</pubDate>

									<content:encoded><![CDATA[<p>Article sobre l'aportació de l'historiador Josep Massot a la musicologia catalana. Publicat al núm. 56 de la revista "Modèlics" de l'Associació d'Amics del Seminari de Mallorca, dedicat íntegrament a homenatjar el pare Massot.</p>
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				<title>Amadeu Corbera Jaume deposited Mallorca 1930: la compositora Cicely Foster in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1736334/</link>
				<pubDate>Tue, 27 Apr 2021 02:25:07 -0400</pubDate>

									<content:encoded><![CDATA[<p>Cicely Foster (1903-2002) va ser una compositora anglesa, alumna entre d'altres d'Alfredo Casella, Alfred Cortot i Nadia Boulanger. El 1932 ella i el seu marit, el pintor nord-americà Archie Gittes, es varen instal·lar a Mallorca. L'illa era aleshores un refugi de bohemis i artites estrangers, entre els quals Robert Graves, Albert Vigoleis T&hellip;<span class="activity-read-more" id="activity-read-more-1736334"><a href="https://hcommons.org/activity/p/1736334/" rel="nofollow ugc">[Read more]</a></span></p>
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				<guid isPermaLink="false">3eb6b49c63c6040870bf228315621c9a</guid>
				<title>Amadeu Corbera Jaume deposited Palmira Jaquetti i el final del lied noucentista in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1711495/</link>
				<pubDate>Fri, 09 Oct 2020 02:23:38 -0400</pubDate>

									<content:encoded><![CDATA[<p>El 1938, en plena guerra civil, la musicòloga, compositora i traductora Palmira Jaquetti Isant va publicar el que seria el seu únic llibre de poemes, "L'estel dins la llar". Pau Casals i Baltasar Samper varen posar música a quatre d'aquests poemes; en el cas de Samper, ho va fer en un cicle inacabat de cançons per a veu i conjunt instrumental tit&hellip;<span class="activity-read-more" id="activity-read-more-1711495"><a href="https://hcommons.org/activity/p/1711495/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>John Michael McCluskey deposited “This Is Ghetto Row”: Musical Segregation in American College Football in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1705586/</link>
				<pubDate>Tue, 18 Aug 2020 02:24:48 -0400</pubDate>

									<content:encoded><![CDATA[<p>A historical overview of college football's participants exemplifies the diversification of mainstream American culture from the late nineteenth century to the twenty-first. The same cannot be said for the sport's audience, which remains largely white American. Gerald Gems maintains that football culture reinforces the construction of American&hellip;<span class="activity-read-more" id="activity-read-more-1705586"><a href="https://hcommons.org/activity/p/1705586/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Pablo Suárez deposited Música, humor y crítica social en el performance Buena Risa Social Club (León de Los Aldama, 2018) de Alejandro García Villalón “Virulo” in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1702568/</link>
				<pubDate>Fri, 24 Jul 2020 02:28:37 -0400</pubDate>

									<content:encoded><![CDATA[<p>Buena Risa Social Club es un performance humorístico-musical del cantautor cubano-mexicano Alejandro García Villalón “Virulo”, quién lo presentó en el Café Antropía (León de Los Aldama, Guanajuato, México) el 30 de noviembre de 2018. Al tener en cuenta los pocos estudios realizados sobre sus composiciones performativas, para la presente com&hellip;<span class="activity-read-more" id="activity-read-more-1702568"><a href="https://hcommons.org/activity/p/1702568/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Pablo Suárez deposited Momentos sociológicos en el performance musical “El humor en estos tiempos da cólera” (ca. 1986) de Alejandro García Villalón "Virulo" in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1702566/</link>
				<pubDate>Fri, 24 Jul 2020 02:28:32 -0400</pubDate>

									<content:encoded><![CDATA[<p>“El humor en estos tiempos da cólera” (ca. 1986) es uno de los performances que escribió, musicalizó y dirigió el cantautor Alejandro García Villalón Virulo para el Conjunto Nacional de Espectáculos de Cuba. De éste se conserva una adaptación televisiva del Instituto Cubano de Radio y Televisión, que no ha sido abordada en investigacion&hellip;<span class="activity-read-more" id="activity-read-more-1702566"><a href="https://hcommons.org/activity/p/1702566/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Pablo Suárez deposited Panorama de la música popular cubana en los Premios Lucas 2016 in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1702564/</link>
				<pubDate>Fri, 24 Jul 2020 02:28:29 -0400</pubDate>

									<content:encoded><![CDATA[<p>En la actualidad se manifiesta una pluralidad discursiva en la música cubana, donde la diversificación de sus soportes de difusión juega un papel fundamental para que determinados músicos sean tenidos como populares. Bajo esa tesitura, los Premios Lucas brindan una variedad de fuentes primarias incomparables, poco abordadas como objetos de est&hellip;<span class="activity-read-more" id="activity-read-more-1702564"><a href="https://hcommons.org/activity/p/1702564/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Pablo Suárez deposited Algunas consideraciones analíticas sobre el performance musical in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1702562/</link>
				<pubDate>Fri, 24 Jul 2020 02:28:26 -0400</pubDate>

									<content:encoded><![CDATA[<p>Con el presente trabajo se busca allanar la zanja que existe entre los abordajes tradicionales del discurso musical y los estudios de performance. Para la realización de investigaciones artísticas sobre performances musicales se debe tener en cuenta dicha expresión como subjetividad cambiante a lo largo de su devenir histórico, construido en las&hellip;<span class="activity-read-more" id="activity-read-more-1702562"><a href="https://hcommons.org/activity/p/1702562/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Pablo Suárez deposited El Génesis Según Virulo (2001) de Alejandro García Villalón como performance humorístico de intertextualidad literaria-musical in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1702553/</link>
				<pubDate>Fri, 24 Jul 2020 02:26:38 -0400</pubDate>

									<content:encoded><![CDATA[<p>La pluralidad discursiva manifiesta en la música cubana se ha encontrado enmarcada en una realidad estético-musical cambiante, causada por una postmodernidad social cada vez más abierta a la globalización de las expresiones culturales de los pueblos. Es dentro de esta dinámica creativa que se encontraron inmersos los performances musicales del&hellip;<span class="activity-read-more" id="activity-read-more-1702553"><a href="https://hcommons.org/activity/p/1702553/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Shayna Silverstein deposited The Punk Arab: Demystifying Omar Souleyman’s Techno-Dabke in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1702134/</link>
				<pubDate>Thu, 23 Jul 2020 02:39:52 -0400</pubDate>

									<content:encoded><![CDATA[<p>Essay analyzing Syrian wedding singer Omar Souleyman's popularity in rave, techno, and other popular Western music markets.</p>
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				<title>Shayna Silverstein deposited Transforming Space: The Production of Contemporary Syrian Art Music in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1695117/</link>
				<pubDate>Fri, 03 Jul 2020 16:25:56 -0400</pubDate>

									<content:encoded><![CDATA[<p>In the first decade of the twenty-first century, a young generation of Syrian experimental composers conceived a space for musiqa mu‘asira, or contemporary art music. Informed by debates on critical aesthetics, modernity, and subjectivity in the Arab world and beyond, these composers drew on particular compositional devices and techniques to m&hellip;<span class="activity-read-more" id="activity-read-more-1695117"><a href="https://hcommons.org/activity/p/1695117/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Edmundo Murray deposited A Symphony of Flavors: Food and Music in Concert in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1689996/</link>
				<pubDate>Fri, 05 Jun 2020 16:25:48 -0400</pubDate>

									<content:encoded><![CDATA[<p>These are the introductory chapter and chapter eight of the multi-authored book that I edited on food-music relations in various regions and periods. In the introduction I analyze the phenomenological basis of the unbalanced relations between food and music. Chapter 8 deals with song lyrics about food in Latin American and the Caribbean.</p>
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				<title>Gavin Holman deposited Ponsonby Boys’ Brass Band 1916-1968 in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1686067/</link>
				<pubDate>Sun, 03 May 2020 16:25:21 -0400</pubDate>

									<content:encoded><![CDATA[<p>This band was formed in Auckland, New Zealand following the success of an earlier drum and fife band associated with the Ponsonby Boy Scouts Association. It undertook several country-wide tours on both islands during the 1920’s and was a very successful and sought-after musical organisation.</p>
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				<title>Miklos Mezosi deposited Két variáció a Don Giovanni-mítoszra: Faustizálás vs. érzéki zsenialitás. Hoffmann és Kierkegaard Mozart-értelmezései in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1685723/</link>
				<pubDate>Wed, 29 Apr 2020 16:37:47 -0400</pubDate>

									<content:encoded><![CDATA[<p>A „Don Juan”-nak szentelt, valójában az önálló mítosszá nőtt Mozart-operához, a Don Giovanni néven jegyzett „dramma giocoso per musicá”-hoz hozzászóló értekezéseikben E. T. A. Hoffman és Søren Kierkegaard nemcsak érzékeny elemzését adják az operának, hanem ezenfelül megörökítik az opera előadásához kötődő élményeiket – Kierkegaard utalásszerűen,&hellip;<span class="activity-read-more" id="activity-read-more-1685723"><a href="https://hcommons.org/activity/p/1685723/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Andrew J. Eisenberg deposited Resonant Voices and Spatial Politics: An Acoustemology of Citizenship in a Muslim Neighbourhood of the Kenyan Coast in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1684840/</link>
				<pubDate>Tue, 21 Apr 2020 16:32:16 -0400</pubDate>

									<content:encoded><![CDATA[<p>This chapter is an updated and newly illustrated version of “Islam, Sound and Space: Acoustemology and Muslim Citizenship on the Kenyan Coast,” originally published in the volume _Music, Sound and Space: Transformations of Public and Private Experience_ (2013, ed. Georgina Born, Cambridge University Press).</p>
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				<title>Amadeu Corbera Jaume deposited Music, Noise and Singing in Silence: Industrial Soundscape and Working Experience in the Factory. The Case of Menorca. in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1684584/</link>
				<pubDate>Sat, 18 Apr 2020 16:25:22 -0400</pubDate>

									<content:encoded><![CDATA[<p>In preindustrial societies, singing and working was - and still is - conceived as part of the same activity, of the same life experience. However, the great social transformation that will imply the industrialization of much of the Catalan Countries at the end of the 19th century, and the progressive impetus of the capitalist production system,&hellip;<span class="activity-read-more" id="activity-read-more-1684584"><a href="https://hcommons.org/activity/p/1684584/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>K. E. Goldschmitt deposited Popular Music and the Growth of Brazilian Culture Industries since 1945 in the group Ethnomusicology</title>
				<link>https://hcommons.org/activity/p/1681695/</link>
				<pubDate>Sun, 22 Mar 2020 16:26:14 -0400</pubDate>

									<content:encoded><![CDATA[<p>The period following the end of Getúlio Vargas’s second government (1951-1954) saw a massive expansion of the media industries with popular music in particular becoming an important cultural touchstone. Some salient trends in the post-War period include the politicization of music and other media (radio, television, social media), the in&hellip;<span class="activity-read-more" id="activity-read-more-1681695"><a href="https://hcommons.org/activity/p/1681695/" rel="nofollow ugc">[Read more]</a></span></p>
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