Transmitting Musical Heritage

传播音乐遗产研究项目解决了与表演背景和意识形态相关的元数据如何通过社区音乐实践与声音一起传播的核心问题。借鉴Shelemay（2008）和Higgins（2012）的研究成果，研究团队在民族音乐学和音乐社会学之间架起了一座桥梁，在社区背景下探索这些问题。谢菲尔德大学的研究人员采用合作人种学的方法，与三个社区合作伙伴一起开发、交付和分析这一主题。这项研究是为了响应现有社区音乐团体对各种国际形式音乐遗产的明确需求而开展的。合作伙伴包括Soundpost，这是一家致力于英国本土音乐传统的教育集团；巴别之歌（Babel Songs），一个从谢菲尔德长期居民那里收集歌曲，并在社区唱诗班中表演的组织；以及“奔跑的艺术”（Arts on the Run），这是一个包括更多寻求临时庇护的难民音乐家的网络，他们寻求表演和教学机会。该研究询问与这些团体相关的音乐家正在向谁传递材料，他们认为重要的额外音乐元素是什么，他们如何尝试实现这一目标，以及这种活动以何种方式影响社区？本研究将影响社区音乐传播的当前思维，在社区音乐传播中，音乐遗产项目将被考虑在内。音乐是社会的文化产物，是意识形态和行为的声音反映，是一种表演遗产。当音乐声音从一个玩家传递到另一个玩家，或者从一个玩家传递到另一个观众时，我们会质疑这种文化元数据是如何传播的。该研究将传播解释为通过公开的教育背景（研讨会）、基于表演的背景（音乐会）或基于情境的传统（仪式音乐）“传递”。许多音乐活动都是作为“日常生活”的一部分进行的，尽管随着慈善组织的发展和断断续续的资金供应，音乐在许多文化中的中介方式正在发生变化。“社区音乐”通常通过研讨会的形式进行，具有明确的社会目标，将参与者聚集在一起并建立社区。这项研究利用了民族音乐学、音乐社会学和社区研究等领域来研究社区和音乐的二元性——社区创造的音乐和通过音乐创造的社区。

The Transmitting Musical Heritage research project addresses the central question of how meta-data relating to performance contexts and ideologies are transmitted along with sound through community music practices. Drawing on the work of Shelemay (2008) and Higgins (2012), the research team form a bridge between ethnomusicology and music sociology to explore these issues in a community context. Employing a process of collaborative ethnography, researchers from The University of Sheffield work with three community partners to develop, deliver and analyse this topic.The research has developed in response to an identified need by existing community music groups working with various international forms of music heritage. The partners include Soundpost, an education group working with indigenous British musical traditions; Babel Songs, an organisation collecting songs from long-term residents of Sheffield with roots elsewhere for performance in a community choir setting; and Arts on the Run, a network including more temporary asylum seeking refugee musicians who seek performance and teaching opportunities. The research asks to whom musicians associated with these groups are transmitting materials, what extra musical elements they deem important to pass on, how they attempt to achieve this, and in what ways does this activity impact on communities? The research will impact on current thinking in community music delivery where items of music heritage are to be considered.Music is a cultural product of society, a sonic reflection of ideologies and behaviours, a performative heritage. When musical sound is transferred from player to player, or player to audience, we question what of this cultural meta-data travels with it, and how. The research will interpret transmission as 'passing on' through either overtly educational contexts (workshops), performance based contexts (concerts) or situational based traditions (ceremonial musics). Much musical activity takes place as a part of 'everyday life', though with the development of charitable organisations and the intermittent provision of funding, the ways music is mediated within many cultures is changing. 'Community Music', typically executed through a workshop situation, has an explicitly social aim, to draw participants together and build community. This research draws on the fields of ethnomusicology, music sociology and studies of communities to investigate this duality of approach to community and music - as music made by communities and as community made through music.