Music & Anthropology

Music & Anthropology è una rivista on-line fondata da Tullia Magrini nel 1996 per rispondere alle problematiche sorte all’interno della comunità di studiosi di etnomusicologia e antropologia musicale a partire dagli anni Ottanta del secolo scorso.

Fin dall’anno della sua fondazione M&A si è posta come luogo di incontro di diversi ambiti di ricerca, sia di quelli strettamente musicali sia di quelli più attinenti alle scienze sociali, come l’antropologia sociale e culturale, l’etnomusicologia, la psicologia, il folklore, gli studi femministi e di genere, e altri ancora.

Punto focale primario di M&A è il Mediterraneo, inteso non solo come entità storico-geografica, ma anch’esso come luogo simbolico di incontro, metafora di confini, culture e identità socialmente costruite.

Le musiche del Mediterraneo - come spiega Tullia Magrini nel Foreword della rivista - offrono sfide del tutto particolari alle discipline che convergono su musica e antropologia: in questo “luogo” musiche di ogni genere trovarono la loro origine, entrarono in contatto tra loro e, pur mantenendo una identità riconoscibile, si diffusero e divennero spesso simbolo delle differenze di storia locale e valori culturali.

Primo editor di Music & Anthropology è stata Tullia Magrini (†2005). A lei è succeduto Martin Stokes dell’Università di Oxford. Dall'autunno 2009 editor della rivista è Marcello Sorce Keller dell'Università di Malta.

1 (1996)

Bruno Nettl, Relating the present to the past: thoughts on the study of musical change and culture change in ethnomusicology; Martin Stokes, History, memory and nostalgia in contemporary Turkish musicology; Iain Fenlon, Music, Ceremony and Self-Identity in Renaissance Venice; Giuseppina Colicci, Dissertation Abstract: Invocation in a fishermen's festival for the Madonna del Lume: San Diego, California and Porticello, Italy, PhD diss., University of California Los Angeles, 1996

2 (1997)

Nico Staiti, The Roma Khorakhané as cultural mediators: nuptial rites and music; Donatella Restani, Music and Myth in Ancient Greece; Joaquina Labajo, Musical ethnography under Spanish colonial power in the modern age; Philip Schuyler, Review of Gnawa Leila, 5 CDs

3 (1998)

Tullia Magrini, Women's "work of pain" in Christian Mediterranean Europe; Karin van Nieuwkerk, "An hour for God and an hour for the heart": Islam, gender and female entertainment in Egypt; Edwin Seroussi, De-gendering Jewish music: the survival of the Judeo-Spanish folk song revisited; Philip Bohlman, The Shechinah, or the feminine sacred in the musics of the Jewish Mediterranean; Francesco Spagnolo, Review of Gepriesen und geheiligt sei ER inmitten Jerusalems, CD

4 (1999)

Tony Langlois, Heard but not seen: music among the Aissawa women of Oujda, Morocco; Antonio Baldassarre, With the daughters of the Houara (Morocco): from fieldwork to World Music; Marie Virolle, The role of women in Raï music; Roberto F. Catalano, Review of Italian Treasury. The Alan Lomax Collection, CDs; Placida Staro, Review of Bonasera a quista casa. "Gli Ucci": pizziche, stornelli, and songs from the Salento region, CD

5 (2000)

Gail Holst, Amanes: The Legacy of the Oriental Mother; Philip Ciantar, From the Bar to the Stage: Socio-musical Processes in the Maltese Spirtu Pront; Gabriele Marranci, A Complex Identity and Its Musical Representation: Beurs and Raï Music in Paris; Josep Marti, Review of Antologia del cant valencià d'estil (1915-1996), CDs Review of Algemesí. Danses de la processó, CD

6 (2001)

Caroline Bithell, Telling a Tree by its Blossom: Aspects of the Evolution of Musical Activity in Corsica and the Notion of a Traditional Music of the Twenty-First Century;Josko Caleta, Trends and Processes in the Music Culture of the Dalmatian Hinterland; Franco Fabbri, Nowhere Land: The Construction of a 'Mediterranean' Identity in Italian Popular Music; Michael G. Kaloyanides, Review of Yiorgos Tzimakis, CD; Review of Vocal Music in Crete, CD; Sehvar Besiroglu, Review of Women of Istanbul, CD

7 (2002)

Ruth Davis, Al-Andalus in Tunis: sketches of the Ma'luf in the 1990s ; Deborah Kapchan, Possessing Gnawa Culture: Displaying Sound, Creating History in an Unofficial Museum; Edwin Seroussi, "Mediterraneanism" in Israeli music: an idea and its permutations ; Martin Stokes, Review of La Simsimiyya de Port-Said, Cd; Issa Boulos, Review of Traditional Music and Songs from Palestine, Cd

8 (2003)

Münir Nurettin Beken, Aesthetics and Artistic Criticism at the Turkish Gazino; Ted Swedenburg, Musical Interzones: The Middle East and Beyond; Ben Brinner, Beyond Israelis vs. Palestinians or Jews vs. Arabs: The Social Ramifications of Musical Interaction; Alessandra Ciucci, Review of Anthologie de la Musique Marocaine, 30 Cds; Gabriel Skoog, Review of 26 Turkish Beat, Psych & Garage Delights: Ultrararities from Beyond the Sea of Marmara, Cd

9 (2004)

Giuliana Fugazzotto, A Musical Journey Around Sicily; Judith Cohen, Esperança Bonet Roig and Manel Frau, Report and Projects: Music in the Balearic and Pityusan Islands; Josko Caleta, Visual notes on music and dance in the Croatian islands; Tullia Magrini, Review of Tenores. Suoni di un'isola 1, cd-rom

10 (2005)

Franco Fabbri, Musical life in Tilos; Gail Holst-Warhaft, Re-evaluating the Nisiotika; Pavlos Kavouras, Ethnographies of dialogical singing, dialogical ethnography

11 (2006)

Martin Stokes, Special Issue Introduction; Ozan E. Aksoy, The Politicization of Kurdish Folk Songs in Turkey in the 1990s; Öykü Potuoğlu-Cook, Sweat, Power, and Art: Situating Belly Dancers and Musicians in Contemporary Istanbul; Sonia Tamar Seeman, Presenting “Gypsy“, Re-Presenting Roman: Towards an Archeology of Aesthetic Production and Social Identity; Sehvar Besiroglu, Review of Eyhok: Traditional Music from Hakkari Muzîka Gelêrî ya Hekariyê, Book and 2 CDs