紀要論文

紀要論文

text

阪大音楽学報. 2023, 19, p. 145-162

日本語

text

2023-03-15

Pop-folk music faces a strange situation in Armenia. While Rabiz, which is a pop-folk genre born in the Soviet era, has been criticized for its melismatic singing as “oriental” or “Turkish,” some of the pop-folk songs that emerged around the 2010s, which have the same characteristics as Rabiz, seem to represent “Armenian” nationalism. This paper examines this ambivalent situation facing Armenian pop-folk. During the rules of the Ottoman Empire, popular culture was shared by bards across ethnic boundaries, where gusan, Armenian bards, also used melisma or maqam. However, due to anti-Turkish feelings of Armenians which established by the Armenian genocide and the Nagorno-Karabakh conflict early and the end of 20th, “oriental” melisma has been associated with Turk and therefore criticized. Although the primary theme of Rabiz is a powerless male feeling, some of Rabiz singers who active in the Diaspora, especially in the West Coast of the United States, sing more optimistic than before. Unexpected hits of Mi Gna by Super Sako ft. Spitakci Hayko via Turkish social media accounts give us a sense of the transnational potential of Rabiz. On the other hand, Armenia has been taking a pop-folk style in the Eurovision Song Contest. The songs that represent Armenia at ESC exploit folk elements to emphasize “Armenianness,” so we can distinguish them from “Turkish” Rabiz. Pop-folks of this type are in danger of becoming more radical in connection with nationalism, like Sirusho.

10.18910/98495

98495

アルメニアにおけるポップフォークの現在地

木村, 颯

大阪大学文学部・大学院人文学研究科音楽学研究室

日本語

2023-03-15

阪大音楽学報

19

145

162

https://hdl.handle.net/11094/98495

10.18910/98495

https://doi.org/10.18910/98495