<\/p>\n
<\/iframe><\/p>\n<p style=\"text-align: left\"><b>Ignazio Macchiarella, Marco Lutzu, eds.,\u00a0<\/b><b><i>Sardinian Masters\u2019 Talks.<\/i><\/b><\/p>\n<p style=\"text-align: left\">prod. Labimus\/Department of Cultural History and Territorial Heritage \u00a0of\u00a0 Cagliari University, 2016 (23\u2019).<\/p>\n<p style=\"text-align: left\"><b>Shown during the ESEM 2016 – Sardinia<\/b><\/p>\n<p><strong><em>with subtitles (English or Italian)<\/em><\/strong><\/p>\n<p>Whatever the approach, every investigation on human music making does, of course, imply relationships \u2013in terms of a contact\/exchange\u2013 between researcher and a group of people. In other words, doing ethnomusicology means, whatever the case, having to do with persons. Ultimately, ethnomusicology is a matter of inter-individual relations, so that, in a sense, the quality of these relations gives the measure of the quality of a research project.<\/p>\n<p>As we all know, the crucial relevance of the \u201cmusic makers’ point of view\u201d and of the relationship \u201cscholar\/music makers\u201d comes up several times in the writings of John Blacking:<\/p>\n<p>\u00absome answer to these questions (cognitive musical abilities) will emerge when we know better how people think about different sets of musical symbols, and relate them to other symbols. The analysis of meaning can be achieved only by dialectic between informants and analysts, in which there is a confrontation of two kinds of technical knowledge and experience, and informants share in the intellectual process of analysis. This has to be done as far as possible in the field, and the process will be rather different from that usually associated with interview\u00bb (Blacking 1995: 233).<\/p>\n<p>In order to foster the emergence of the local actors\u2019 point of view, extremely significant contributions can come from approaches based on the strategies of dialogue as a strategy for interpretative studies. Roughly, it means aiming to build up systematic collaborations oriented towards achieving negotiated dialogues (beyond the simple juxtapositions of different opinions) between the scholar\u2019s perspective and the local music-makers\u2019 awareness, which might lead to a closer mutual comprehension. This aim has inspired the (ethno)musicological work carried out by Cagliari University over the last ten years or so (Macchiarella 2014). Inter alia, it has resulted in close friendships with some music makers who have collaborated in different initiatives throughout the years. In actual fact, a very peculiar amities\u00a0have arisen\u00a0between scholars and different music makers, that\u00a0imply complete and mutual trust, a great willingness for cooperation, and yet a kind of complicity.<\/p>\n<p>This is the background of the video <i>Sardinia Masters\u2019 Talks<\/i>. The video is a montage containing talks by five of our long-standing best music-friends (since 1982) who are, at the same time, among the most celebrated performers (all over Sardinia and beyond) of the most representative traditional practices: <i>a tenore <\/i>and <i>a cuncurdu<\/i> multipart singing, guitar accompanied singing, and launeddas playing. They are: <b>Giuseppe Brotzu<\/b>, from Castelsardo (SS), singer and ex-prior of the confraternity of Santa Croce (see Lortat-Jacob 1996); <b>Franco Davoli<\/b>, from Orgosolo (NU), <i>boghe<\/i> and leader of the <i>Tenore<\/i> quartet Supramonte (who is also one of the editors of Pilosu-Tenore Supramonte 2017); <b>Daniele Giallara<\/b><b>, <\/b>from Cuglieri (OR), not only one of the most celebrated Sardinian singers of the <i>boghe a chiterra <\/i>(guitar accompanied singing) but also \u00a0a <i>cuncordu<\/i> singer of his village; <b>Tonino Leoni<\/b>, from Samatzai (Ca), <i>launeddas<\/i> player and music disciple of the great maestro Dionigi Burranca (he is one of the authors in Lutzu 2012); <b>Bachisio Masia<\/b>, from Bonnanaro (SS), both guitar player within the <em>cantu<\/em><i>\u00a0a chiterra<\/i> music practice and singer of the confraternity\u2019s <i>a<\/i> <i>cuncordu<\/i> quartet.<\/p>\n<p>We explained to them that our project was aimed at providing a contribution on their ideas about ethnomusicology and about what ethnomusicologists do (and do not do) and\/or what eventually they should do (or should not do) with particular regard to the contemporary situation of the music practice in which they are specialized. We stressed that their opinions would be presented in a video addressed to the participants at the ESEM 2016 seminar or rather to an assembly of ethnomusicologists coming from around the world who were meeting in Cagliari and Santu Lussurgiu.<\/p>\n<p>They all agreed immediately. To shoot the video we met Bachisio, Daniele, and Giuseppe in Bonnanaro at Bachisio\u2019s home (Bernard Lortat-Jacob was with us); Tonino, at my University office in Cagliari, and Franco in Abbasanta, during a village feast. The first four men spoke in Italian, the last one using <em>sardu<\/em>, the Sardinian native language.<\/p>\n<p>Of course, Marco and I did not ask them to answer a questionnaire or anything like that. We simply told them a few words about the ESEM society and its founder John Blacking (also providing a few short quotations taken from Blacking\u2019s works, translated into Italian, and\u00a0related to \u00a0the topic of music as social action) and about the themes of the Sardinian meeting.<\/p>\n<p>For each talk, we shot about 20-23 minutes of discussion \u2013 not more. Marco and I edited the video, trying to highlight the main themes according to our opinions (to save time, we eliminated our voices). Of course, the video is not exactly a dialogical outcome; dialogues need time! One can say it is the first step of a dialogical path. Nevertheless, I hope the materials will result interesting and they might provide points for reflection. [I.M.]<\/p>\n<p> <\/p>\n<p><b>References<\/b><\/p>\n<p>John Blacking, 1995 <i>Music, Culture and Experience, Selected Papers of John Blacking<\/i>, Reginald Byron ed.,\u00a0\u00a0University of Chicago Press, Chicago.<\/p>\n<p>Bernard Lortat-Jacob, 1996, <i>Canti di Passione<\/i>, Lim, Lucca.<\/p>\n<p>Marco Lutzu, 2012, <i>Launeddas<\/i>, in Enciclopedia della Musica Sarda, L’Unione Sarda, Cagliari, vol. 11.<\/p>\n<p>Ignazio Macchiarella, 2014, <i>Exploring micro-worlds of music meanings<\/i>, \u00abEl o\u00ecdo pensante\u00bb, anno 2, n. 1, pp. 1-16.<\/p>\n<p>Sebastiano Pilosu- Tenore Supramonte, eds., 2017, <i>Il canto a tenore di Orgosolo nelle raccolte del CNSMP<\/i> (1955-1961), Squilibri, Roma.<\/p>\n<p> <\/p>","protected":false},"excerpt":{"rendered":"<p> Ignazio Macchiarella, Marco Lutzu, eds.,\u00a0Sardinian Masters\u2019 Talks. prod. Labimus\/Department of Cultural History and Territorial Heritage \u00a0of\u00a0 Cagliari University, 2016 (23\u2019). Shown during the ESEM 2016 – Sardinia with subtitles (English or Italian) Whatever the approach, every investigation on human music making does, of course, imply relationships \u2013in terms of a contact\/exchange\u2013 between researcher and a group of people. In other words, doing ethnomusicology means, whatever the case, having to do with persons. Ultimately, ethnomusicology is a matter of inter-individual relations, so that, in a sense, the quality of these relations gives the measure of the quality of a research <a href='https:\/\/sites.unica.it\/labimus\/2017\/06\/01\/sardinian-masters-talks\/' class='excerpt-more'>[…]<\/a><\/p>\n","protected":false},"author":1828,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[42673],"tags":[],"class_list":["post-2012","post","type-post","status-publish","format-standard","hentry","category-esem-2016","category-42673-id","post-seq-1","post-parity-odd","meta-position-corners","fix"],"_links":{"self":[{"href":"https:\/\/sites.unica.it\/labimus\/wp-json\/wp\/v2\/posts\/2012","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.unica.it\/labimus\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.unica.it\/labimus\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.unica.it\/labimus\/wp-json\/wp\/v2\/users\/1828"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.unica.it\/labimus\/wp-json\/wp\/v2\/comments?post=2012"}],"version-history":[{"count":9,"href":"https:\/\/sites.unica.it\/labimus\/wp-json\/wp\/v2\/posts\/2012\/revisions"}],"predecessor-version":[{"id":2035,"href":"https:\/\/sites.unica.it\/labimus\/wp-json\/wp\/v2\/posts\/2012\/revisions\/2035"}],"wp:attachment":[{"href":"https:\/\/sites.unica.it\/labimus\/wp-json\/wp\/v2\/media?parent=2012"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.unica.it\/labimus\/wp-json\/wp\/v2\/categories?post=2012"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.unica.it\/labimus\/wp-json\/wp\/v2\/tags?post=2012"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}