The International Journal of Traditional Arts http://tradartsjournal.org/index.php/ijta <p><em>The International Journal of Traditional Arts</em> is an international, peer-reviewed Gold Open access journal that promotes a broad-ranging understanding of the relevance of traditional arts in contemporary social life.</p> Newcastle University, UK en-US The International Journal of Traditional Arts 2631-6064 <p><span>Authors who publish with this journal agree to the following terms:</span></p><p>Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a <a href="http://creativecommons.org/licenses/by/3.0/" target="_new">Creative Commons Attribution License</a> that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.</p><p>Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.</p><p>Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See <a href="http://opcit.eprints.org/oacitation-biblio.html" target="_new">The Effect of Open Access</a>).</p><p> </p><p dir="ltr"><span>PUBLICATION ETHICS AND MALPRACTICE STATEMENT</span></p><p dir="ltr"><span>The </span><em>International Journal for Traditional Arts</em><span> is self-published by the Editors. The Editors are committed to upholding the principles of the Committee on Publication Ethics' Code of Conduct for Publishers. Plagiarism, fraudulent publication or any other form of misconduct will not be tolerated. All submissions will be screened for plagiarism before being sent to reviewers. Should unethical behaviour come to the attention of the Editors, an investigation will be initiated, and all appropriate steps will be taken to rectify the situation (including, where necessary, the publication of clarifications, corrections retractions, and/or apologies). </span></p><div><span><br /></span></div><div><span><br /></span></div> Music, Affect and Atmospheres: Meaning and Meaningfulness in Palauan omengeredakl http://tradartsjournal.org/index.php/ijta/article/view/16 <p>In this article, I explore facets of the complex musical experience afforded by <em>omengeredakl</em>, a genre of traditional vocal music from Palau, Western Micronesia. The concept of atmosphere will lead me to propose a conceptual distinction between musical meaning(s) and musical meaningfulness as well as enable an integrated analysis of both. With this, I am pointing at weaknesses in some of the recent ethnomusicological literature on atmosphere: atmosphere should not be identified with affect, or looked at as part of a two-stage process in which affective experience is followed by reflective interpretation. The potential of atmospheres for the study of music lies precisely in that the concept enables us to transcend this and other pairs of opposites. Overcoming this binary will allow us to draw closer to the efficacy of music: after all, the proverbial “power of music” exceeds the impact of affective experience and discursive meaning by far. </p> Birgit Abels ##submission.copyrightStatement## http://creativecommons.org/licenses/by/4.0 2018-04-09 2018-04-09 2 ‘I realised it was the same song’: Familiarisation, assimilation and making meaning with new folk music http://tradartsjournal.org/index.php/ijta/article/view/18 <p>In many settings, folk music continues to be a vibrant resource for contemporary audiences. Existing research in the folk music scene has largely been centred on participation, reflecting historical tensions surrounding the professionalisation of the genre. However, in this paper, we challenge the binary between participatory and presentational forms of music (Turino, 2008), positioning listening as a form of participation and highlighting the work done by audiences for presentational folk music. This paper presents the findings of a longitudinal, qualitative study of listening experience around the release of a new folk album by the first author: Fay Hield’s <em>Old Adam</em> (2016). Through a series of focus groups, eight participants gave increasingly personalised accounts of their relationship with the music, from first reactions to finding deep meaning in the songs. We draw on disparate strands of research including developments in music psychology and audience research, as well as theoretical literature on the value of storytelling, to consider how songs go from unknown entities to important emotional resource for listeners. We demonstrate that familiarisation with new music is impacted on by: live and recorded listening contexts, musical preference, existing knowledge of folk music repertory, and genre conventions. We show that while listeners may make their own meaning from music, they need to find resemblance between a song’s meaning and their own lived experience in order to connect with it deeply. While theoretical storytelling literature suggests narrative is important as a means of mentally rehearsing for future experiences, instead we found participants reject that notion, understanding rather that song stories act as a tool for reflection and in making meaning of previous experience. This depth of engagement shows that while these listeners may not be getting their fiddles out or leading a chorus song in a singaround, they are far from a passive audience.</p> Fay Hield Sarah Price ##submission.copyrightStatement## http://creativecommons.org/licenses/by/4.0 2018-11-19 2018-11-19 2 It was Never Just about the Music: How Artistic Communication Genres Could Liberate Ethnomusicology http://tradartsjournal.org/index.php/ijta/article/view/19 <p>In this rhetorical short essay, I argue for the benefits and possibility of grounding ethnomusicological research in enactments of artistic communication genres. I describe the conceptual imprecision and incomplete analyses that often result from our fieldwork being guided by abstract categories like music and dance. I go on to outline the kinds of research needed to better understand any and all artistic acts formally and socially, and point to the promise of richer, more coherent, more productive, more multi-disciplinary output, with more relevance to the world.</p> Brian Schrag ##submission.copyrightStatement## http://creativecommons.org/licenses/by/4.0 2018-11-19 2018-11-19 2