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xiii | |
| Foreword |
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xv | |
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| Acknowledgments |
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xix | |
| Notes to the English edition |
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xxi | |
| Linguistic conventions |
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xxv | |
| Introduction |
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1 | (22) |
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Musical emotions: from the lab to the field |
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1 | (1) |
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The Roma community of Ceuas |
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2 | (7) |
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Is emotion necessarily associated with music? |
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9 | (4) |
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"Good music makes you cry": methodological approach |
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13 | (10) |
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PART 1 MUSICAL EMOTIONS: WHEN AND WHY DO THEY ARISE? |
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SECTION 1 PERFORMING FOR OTHERS, PERFORMING FOR ONESELF |
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1 The professional ethics of the Roma musicians of Ceuas |
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23 | (8) |
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25 | (1) |
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25 | (3) |
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28 | (3) |
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31 | (16) |
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A Hungarian banquet in Ceuas |
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31 | (6) |
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32 | (1) |
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33 | (2) |
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35 | (2) |
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A Roma wedding in Laslau Mic |
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37 | (5) |
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38 | (2) |
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40 | (1) |
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41 | (1) |
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Similarities and differences |
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42 | (5) |
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3 How to make music work, how to arouse emotions |
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47 | (17) |
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47 | (1) |
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Playing for every "nation" |
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48 | (1) |
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Playing for every "region" |
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49 | (3) |
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Playing for each "person" |
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52 | (3) |
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A flexible conception of the repertoire |
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55 | (2) |
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The emotion at the end of the festivities |
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57 | (1) |
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Making music resonate deep within the soul of the customers |
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57 | (2) |
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The emotions of the musicians |
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59 | (5) |
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4 After the "service": Time to party in tiganie |
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64 | (9) |
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64 | (2) |
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66 | (2) |
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The tears of the musicians |
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68 | (3) |
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The after-parties that follow the service |
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71 | (2) |
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5 Other occasions when musical emotions can arise in tiganie |
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73 | (13) |
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Minor official celebrations |
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73 | (1) |
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73 | (3) |
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76 | (1) |
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At home with Csangalo, a professional musician (A3) |
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77 | (2) |
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At home with Bela, an amateur musician (A4) |
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79 | (2) |
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At home with Ikola, a semiprofessional singer (A5) |
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81 | (2) |
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Crying with music in tiganie |
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83 | (3) |
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6 A musical experience of being inwardly torn apart |
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86 | (13) |
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86 | (1) |
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86 | (2) |
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"Affecting" and "affected" characters |
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88 | (1) |
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The emotions behind the tears |
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89 | (1) |
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89 | (2) |
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91 | (1) |
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92 | (2) |
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Feeling inwardly torn apart |
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94 | (1) |
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Performing for others, performing for oneself |
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95 | (4) |
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SECTION 2 PERFORMING FOR THE DEAD, AROUSING PITY IN THE LIVING |
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7 Funerals and the politics of emotion |
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99 | (21) |
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A new configuration of the world |
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99 | (1) |
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100 | (1) |
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100 | (2) |
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Great men versus lesser men |
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102 | (2) |
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104 | (2) |
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"Relatives" versus "outsiders" |
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106 | (1) |
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Crying "with full throat" versus crying "inside" |
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107 | (4) |
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111 | (1) |
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112 | (2) |
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The emotional dimensions of the funeral ritual |
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114 | (1) |
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The dead versus the living: piety versus fear |
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114 | (2) |
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The relatives versus outsiders: pity versus shame |
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116 | (1) |
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The space of ritual actions |
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117 | (3) |
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8 The soundscape of a funeral wake |
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120 | (41) |
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A heterogeneous soundscape |
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120 | (2) |
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Analysis of the soundscape of a funeral |
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122 | (1) |
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Crying "with full throat": a case study |
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122 | (2) |
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124 | (9) |
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133 | (8) |
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The acoustic characteristics of the weeping voice |
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141 | (3) |
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144 | (4) |
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148 | (1) |
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A suite with a rising tempo |
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148 | (4) |
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The song of the deceased: playing for one, playing for them all |
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152 | (2) |
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Relational musical emotions |
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154 | (2) |
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156 | (5) |
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PART 2 WHY DO THE ROMA OF CEUAS CRY WITH MUSIC? |
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9 Musical emotions in the Roma community of Ceuas: A concentric model |
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161 | (11) |
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Comparing the three contexts of musical tears |
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161 | (5) |
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My model's weaknesses and strengths |
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166 | (4) |
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The invariants of musical emotion |
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170 | (2) |
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172 | (44) |
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De jale tunes: a case study |
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172 | (3) |
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The irregularities of the aksak rhythm |
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175 | (4) |
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Rhythmical measures using sound analysis |
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179 | (1) |
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179 | (1) |
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179 | (1) |
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180 | (2) |
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Rhythmical measures using motion capture |
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182 | (1) |
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182 | (1) |
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183 | (3) |
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186 | (1) |
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Discussion on aksak measures |
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187 | (1) |
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Asynchronization between melody and accompaniment |
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188 | (2) |
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Measuring asynchronies by using motion capture |
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190 | (1) |
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190 | (1) |
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191 | (1) |
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191 | (9) |
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Discussion on asynchronization |
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200 | (3) |
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The effect of "sweetness" created by the phrasing and ornamentation |
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203 | (2) |
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Two studies on musical sweetness |
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205 | (1) |
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205 | (1) |
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205 | (5) |
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210 | (4) |
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De jale tunes: conclusion |
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214 | (2) |
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216 | (11) |
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216 | (2) |
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To "own" a song, it has to be "in your heart" |
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218 | (1) |
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Methodological clarifications |
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218 | (1) |
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What the Roma of Ceuas have to say about their own personal melodies |
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218 | (2) |
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What the Roma of Ceuas have to say about the melodies of others |
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220 | (1) |
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Uncertain musical identities |
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221 | (6) |
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227 | (12) |
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The mila: a way of being and behaving |
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228 | (3) |
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"Roma are more milosi": an emotional minority? |
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231 | (3) |
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The mild and musical emotion |
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234 | (5) |
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PART 3 MUSIC, EMOTION, AND EMPATHY |
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13 What is musical empathy? |
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239 | (24) |
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Empathy and music: conceptual frameworks |
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240 | (1) |
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Ethnomusicological perspectives on empathy |
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240 | (4) |
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244 | (3) |
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247 | (5) |
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Gestural empathy and embodied musical cognition |
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252 | (3) |
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The usefulness of theories of empathy |
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255 | (8) |
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14 Toward an anthropological approach to musical empathy |
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263 | (36) |
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264 | (1) |
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264 | (4) |
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Applying Gell's model to music |
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268 | (3) |
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Anthropological perspectives on musical empathy |
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271 | (1) |
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Emotion, empathy, and agency - |
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272 | (1) |
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The referent of musical empathy |
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273 | (1) |
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Empathy with the "musical being" |
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274 | (2) |
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276 | (1) |
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Empathy for musical memory-images |
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277 | (2) |
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Intersubjective musical empathy |
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279 | (1) |
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280 | (1) |
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Personal melodies and distributed persons |
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281 | (3) |
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Becoming attached to a de jale tune |
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284 | (5) |
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289 | (2) |
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291 | (8) |
| Epilogue |
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299 | (6) |
| Glossary |
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305 | (4) |
| Bibliography |
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309 | (14) |
| Discography |
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323 | (2) |
| Filmography |
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325 | (2) |
| List and index of the audiovisual documents |
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327 | (2) |
| Index |
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329 | |
