Cultural Translations

has arisen as a particularly important area of music research. Ethnomusicologist Tina Ramnarine hastowards recently politically observed articulated that by “moving readings beyond of social simple relations understandings creative of hybridity processes.” as musical 22 Thus, cultures hybriditycontact requires that result an especially in „new‟ musical broad expressions view in order we to move grasp towards all relevant politically factors, articulated which is readings why the ofinsecond social part relations of this and model creative is relatively processes.” wide 22 Thus, in its hybridity scope, encompassing requires an especially five domains. broad view in order tograsp all relevant factors, which is why the second part of this model is relatively wide in its scope,The second part of the model is entitled Five Domains of Cultural Translation via Music, whichare encompassing identified as five follows domains. (see below): A) Technological Adaptations, B) Idiomatic Conventions, C)Aesthetic Notions, D) Creative Practices, and E) Receptive Contexts.The second part of the model is entitled Five Domains of Cultural Translation via Music, which areidentified as Model follows 2. (see Five below): Domains A) Technological of Cultural Adaptations, Translation B) Idiomatic via Conventions, Music C)Figure 2: Model-Five Domains of Cultural Translation via MusicAesthetic Notions, D) Creative Practices, and E) Receptive Contexts.What is meant by conceptualization according to these five domains in the cultural translationModel 2. Five Domains of CulturalTranslation via MusicA. TechnologicalAdaptationsof music (or, alternatively, the musical translation of music)? Consider the following descriptions:E. ReceptiveContextsB. IdiomaticConventionsD. CreativePracticesC. AestheticNotions28Figure 2: Model-Five Domains of Cultural Translation via MusicA. Technological Adaptations. This refers to an array of tools and associated techniques, includinginstruments, notation systems, sound media (synthesizer programming of nonsampledsounds or even samples, etc.) used by musicians.What is meant by conceptualization according to these five domains in the cultural translation ofB. Idiomatic Conventions. This refers to actual approaches to the use of musical sounds, includingmusic (or, alternatively,tonal, rhythmic,the musicaltextural,translationtimbral,ofandmusic)?formalConsidersystems.the following descriptions:C. Aesthetic Notions. This includes holistic approaches and expressive devices that embodycharacteristics regarded to sound appropriate and “good.” This does not necessarily re-22 Tina quire K. Ramnarine, new techniques “Musical (although performance it often does); in the diaspora: Rather, it Introduction,” can merely consist Ethnomusicologyof new ways ofForum, 16(1), 1-17 (2007), p.7.22 Tina K. Ramnarine, “Musical performance in the diaspora: Introduction,” Ethnomusicology Forum, 16(1),1-17 (2007), p.7.David G. Hebert