Andrew Alter
Dados Biográficos
| ID | 846965 |
|---|---|
| NOME | Andrew Alter |
| PRENOMES | Andrew |
| SOBRENOME | Alter |
| ASSINATURA | ALTER A |
| AFILIAÇÕES | Macquarie University |
| ORCID | 0000-0002-8814-3203 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 15 |
| TOTAL DE CITAÇÕES | 4 |
| TOTAL COMO AUTOR | 13 |
| TOTAL COMO EDITOR | 2 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 1997 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2024 |
| ÍNDICE H | 1 |
Writing for the Aurally Engaged Reader
This article reviews three books and uses these as motivation to consider the changing conditions for the discourse communities which define musicology and its companion disciplines. More specifically, the books inspire a re-evaluation of the contemporary conditions of musical experience, activity, and research in a digitally oriented sound–word publishing world. The article notes a growing body of disciplinary literature that interacts with, or …
Local Digital
This paper interprets the use of the Auto-Tune effect (ATE) in popular music from northern India. The paper sets out to demonstrate the value of using YouTube channels to identify regionally calibrated listenerships and to demonstrate how three channels in the state of Uttarakhand use the Auto-Tune effect to contribute to regional identity through music. While processes of globalization spread the use of the ATE around the world, a closer examina…
Drumming and Dancing in Mahābhārata Performances of the Himalayas
This article considers the nexus that exists between drumming, dancing, and possession within the Pāndavalīlā, and draws on the work of Judith Becker (2004) to interpret the performance of possession as a theatre of transition. Most notably, while drumming effectively inspires possessed states, these are of different kinds and different orders. Performances like those of the Pāndavalīlā rely not only on altered states of consciousness in some for…
Expressing sonic theology
Festivals dedicated to various forms of the Goddess Devī are celebrated throughout the Indian and Nepalese Himalayan region. The Būṅkhāl Melā is one such festival that is held annually in the central area of the Indian state of Uttarakhand. In this paper, the Būṅkhāl Melā serves as a case study for examining how sonic theology manifests as ritual activity. Drumming, dancing, processing, singing, and possession form part of ritual action designed …
Recasting Lok and Folk in Uttarakhand
The history of the folk concept in India is deeply enmeshed with colonial-era knowledge projects. Contemporary music production in various regional locations has developed throughout the past forty years in ways that have moved the concept well beyond a stable definition located in a pre-modern agrarian ideal. This review article summarises Stefan Fiol's new book, Recasting Folk in the Himalayas, and illustrates how the author re-evaluates the fo…
National Spaces and Global Imagination
Throughout the 1990s and the early part of this century, World Music discourse has emphasized a local–global syllogism in which global hegemonic forces have been pitted against smaller more locally defined musical practices. A few notable exceptions within the discourse have recognized the national space as a significant, although often absent, middle space between the local and the global. This article examines contemporary Ethiopian music and t…
Thālī
Murcang
Sounds of the Soul
Additional informationNotes on contributorsAndrew AlterAndrew Alter is a Senior Lecturer at Macquarie University, Australia where he teaches ethnomusicology. He has written two books on the traditional music of India focusing on ritual drumming in the Himalayas. He also has extensive experience with Indonesian gamelan performance and currently directs the Macquarie University Gamelan Ensemble
The Significance of Tantric Sects for Drum Practice in the Central Himalayas
Gorakhnāth is a tantric figure revered by a number of Hindu Shaivite sects. These sects exist particularly in Nepal, but are also found elsewhere in, or near, the Himalayas in parts of northern India and Bengal. In addition, others in the Himalayas see Gorakhnāth as particularly influential for their religious lives. For instance, Maskarinec (1995:7) mentions that shamans in Nepal regard Gorakhnāth as the "highest" spiritual authority. The suffix…
Indic Musicology
In India, cultural and ritual authority is often assigned to, or derived from, what is heard; namely sound. As a result it is not uncommon for sound to be privileged as the mode preferred in the tr
Playing history
The small town of Purnath1 which is located in Central Garhwal holds an annual mela (festival) to worship and reaffirm the power of its local deity. The unique history associated with the town's original forceful acquisition of its deity is an integral part of the mela.2 Events associated with the deity's original acquisition arere-enacted by the townspeople as both a form of worship and as a dramatic spectacle. In this way, the mela provides an …
Negotiating identity in the Garhwali popular cassette industry
(1998). Negotiating identity in the Garhwali popular cassette industry. South Asia: Journal of South Asian Studies: Vol. 21, No. 1, pp. 109-122
Key processes in the oral transmission of Hindustani vocal music
The transmission of Hindustani music is carried out through a process of oral transmission in which teachers instruct their students largely without the aid of writing or notation. Many pedagogical strategies have been developed by musical practitioners to cope with the oral-aural communication which is inherent in this process. Such strategies are not only important to the student but also to the teacher for whom the act of teaching becomes as m…
Garhwali Bagpipes
Pendant les fetes des noces, dans la region rurale de Garhwal (Inde du Nord, region himalayenne), des processions de musiciens de mashak (cornemuse) et de tambours accompagnent le cortege nuptial. L'A. etudie le developpement syncretique du mashak, instrument repandu dans toute l'Inde du Nord et le Pakistan, et montre que quatre facteurs principaux culturels et historiques ont permis le maintien de cette tradition musicale alors que les regions v…
Local Digital
This paper interprets the use of the Auto-Tune effect (ATE) in popular music from northern India. The paper sets out to demonstrate the value of using YouTube channels to identify regionally calibrated listenerships and to demonstrate how three channels in the state of Uttarakhand use the Auto-Tune effect to contribute to regional identity through music. While processes of globalization spread the use of the ATE around the world, a closer examina…
Recasting Lok and Folk in Uttarakhand
The history of the folk concept in India is deeply enmeshed with colonial-era knowledge projects. Contemporary music production in various regional locations has developed throughout the past forty years in ways that have moved the concept well beyond a stable definition located in a pre-modern agrarian ideal. This review article summarises Stefan Fiol's new book, Recasting Folk in the Himalayas, and illustrates how the author re-evaluates the fo…
Negotiating identity in the Garhwali popular cassette industry
(1998). Negotiating identity in the Garhwali popular cassette industry. South Asia: Journal of South Asian Studies: Vol. 21, No. 1, pp. 109-122
Garhwali Bagpipes
Pendant les fetes des noces, dans la region rurale de Garhwal (Inde du Nord, region himalayenne), des processions de musiciens de mashak (cornemuse) et de tambours accompagnent le cortege nuptial. L'A. etudie le developpement syncretique du mashak, instrument repandu dans toute l'Inde du Nord et le Pakistan, et montre que quatre facteurs principaux culturels et historiques ont permis le maintien de cette tradition musicale alors que les regions v…
Key processes in the oral transmission of Hindustani vocal music
The transmission of Hindustani music is carried out through a process of oral transmission in which teachers instruct their students largely without the aid of writing or notation. Many pedagogical strategies have been developed by musical practitioners to cope with the oral-aural communication which is inherent in this process. Such strategies are not only important to the student but also to the teacher for whom the act of teaching becomes as m…
Garhwali Bagpipes
Pendant les fetes des noces, dans la region rurale de Garhwal (Inde du Nord, region himalayenne), des processions de musiciens de mashak (cornemuse) et de tambours accompagnent le cortege nuptial. L'A. etudie le developpement syncretique du mashak, instrument repandu dans toute l'Inde du Nord et le Pakistan, et montre que quatre facteurs principaux culturels et historiques ont permis le maintien de cette tradition musicale alors que les regions v…
Negotiating identity in the Garhwali popular cassette industry
(1998). Negotiating identity in the Garhwali popular cassette industry. South Asia: Journal of South Asian Studies: Vol. 21, No. 1, pp. 109-122
Indic Musicology
In India, cultural and ritual authority is often assigned to, or derived from, what is heard; namely sound. As a result it is not uncommon for sound to be privileged as the mode preferred in the tr
Playing history
The small town of Purnath1 which is located in Central Garhwal holds an annual mela (festival) to worship and reaffirm the power of its local deity. The unique history associated with the town's original forceful acquisition of its deity is an integral part of the mela.2 Events associated with the deity's original acquisition arere-enacted by the townspeople as both a form of worship and as a dramatic spectacle. In this way, the mela provides an …
The Significance of Tantric Sects for Drum Practice in the Central Himalayas
Gorakhnāth is a tantric figure revered by a number of Hindu Shaivite sects. These sects exist particularly in Nepal, but are also found elsewhere in, or near, the Himalayas in parts of northern India and Bengal. In addition, others in the Himalayas see Gorakhnāth as particularly influential for their religious lives. For instance, Maskarinec (1995:7) mentions that shamans in Nepal regard Gorakhnāth as the "highest" spiritual authority. The suffix…
Sounds of the Soul
Additional informationNotes on contributorsAndrew AlterAndrew Alter is a Senior Lecturer at Macquarie University, Australia where he teaches ethnomusicology. He has written two books on the traditional music of India focusing on ritual drumming in the Himalayas. He also has extensive experience with Indonesian gamelan performance and currently directs the Macquarie University Gamelan Ensemble
Thālī
Murcang
National Spaces and Global Imagination
Throughout the 1990s and the early part of this century, World Music discourse has emphasized a local–global syllogism in which global hegemonic forces have been pitted against smaller more locally defined musical practices. A few notable exceptions within the discourse have recognized the national space as a significant, although often absent, middle space between the local and the global. This article examines contemporary Ethiopian music and t…
Recasting Lok and Folk in Uttarakhand
The history of the folk concept in India is deeply enmeshed with colonial-era knowledge projects. Contemporary music production in various regional locations has developed throughout the past forty years in ways that have moved the concept well beyond a stable definition located in a pre-modern agrarian ideal. This review article summarises Stefan Fiol's new book, Recasting Folk in the Himalayas, and illustrates how the author re-evaluates the fo…
Expressing sonic theology
Festivals dedicated to various forms of the Goddess Devī are celebrated throughout the Indian and Nepalese Himalayan region. The Būṅkhāl Melā is one such festival that is held annually in the central area of the Indian state of Uttarakhand. In this paper, the Būṅkhāl Melā serves as a case study for examining how sonic theology manifests as ritual activity. Drumming, dancing, processing, singing, and possession form part of ritual action designed …
Drumming and Dancing in Mahābhārata Performances of the Himalayas
This article considers the nexus that exists between drumming, dancing, and possession within the Pāndavalīlā, and draws on the work of Judith Becker (2004) to interpret the performance of possession as a theatre of transition. Most notably, while drumming effectively inspires possessed states, these are of different kinds and different orders. Performances like those of the Pāndavalīlā rely not only on altered states of consciousness in some for…
Local Digital
This paper interprets the use of the Auto-Tune effect (ATE) in popular music from northern India. The paper sets out to demonstrate the value of using YouTube channels to identify regionally calibrated listenerships and to demonstrate how three channels in the state of Uttarakhand use the Auto-Tune effect to contribute to regional identity through music. While processes of globalization spread the use of the ATE around the world, a closer examina…
Writing for the Aurally Engaged Reader
This article reviews three books and uses these as motivation to consider the changing conditions for the discourse communities which define musicology and its companion disciplines. More specifically, the books inspire a re-evaluation of the contemporary conditions of musical experience, activity, and research in a digitally oriented sound–word publishing world. The article notes a growing body of disciplinary literature that interacts with, or …
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