James Kippen, The Tabla of Lucknow: A Cultural Analysis of a Musical Tradition. Cambridge Studies in Ethnomusicology. Cambridge, Cambridge University Press, 1988. xxv + 222 pp. ISBN 0 521 33528 0. A separate cassette contains 42 musical items. ISBN 0 521 33529 9. - Bell Yung, Cantonese Opera: Performance as Creative Process. Cambridge Studies in Ethnomusicology. Cambridge, Cambridge University Press, 1989. xiv + 205 pp. ISBN 0 521 30506 3. A separate cassette contains 6 musical items. ISBN 0 521 35632 6. - Musica asiatica, 5, ed. Richard Widdess. Cambridge, Cambridge University Press, 1988. vi + 269 pp. ISBN 0 521 34071 3.

This introductory chapter presents the “genetic criticism,” or critique génétique, as an approach to the study of the creative process. The term itself relates to the genesis of cultural works, as regarded in a broad and inclusive manner. The chapter applies this approach by examining how conditions for the production and reception of artworks can be regarded as “intensely ideological formations” in late nineteenth-century works by two influential composers from the European musical tradition: Brahms and Wagner. It first considers the conditions for the production of Brahms's pieces by taking note of his engagement with Beethoven's music and sketchbooks. In Wagner's case, the chapter focuses on issues of reception, particularly how his final drama, Parsifal, was promoted at Bayreuth after his death. The chapter concludes with a brief overview of the succeeding chapters and the scope of the sources which this study draws from.

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Cantonese Opera: Performance as Creative Process

Asian Music ◽

10.2307/834200 ◽

1993 ◽

Vol 25 (1/2) ◽

pp. 223

Author(s):

Alan R. Thrasher ◽

Bell Yung

Keyword(s):

Creative Process ◽

Cantonese Opera

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DARVIES RASJIDIN DAN PERUBAHAN KARYANYA SEBUAH KAJIAN SOSIOHISTORIS

Gorga Jurnal Seni Rupa ◽

10.24114/gr.v10i1.23677 ◽

2021 ◽

Vol 10 (1) ◽

pp. 35

Author(s):

Nessya Fitryona ◽

Maltha Kharisma

Keyword(s):

New York ◽

Visual Arts ◽

Family Environment ◽

Creative Process ◽

Descriptive Analysis ◽

Cambridge University ◽

Social Actors ◽

West Sumatra ◽

Qualitative Descriptive

This study aims to explain the background of Darvies Rasjidin's artistic journey and the factors that influence the changes in his work. Darvies is an artist from West Sumatra who currently resides in Yogyakarta. Around the mid-70s his work was different from the current maistream that developed in West Sumatra, namely the Minang-themed surrealist. However, in the next period, he decided to move to Yogyakarta. His work changed style to a more contemporary. The research method used is qualitative descriptive analysis with a sociohistorical approach. The research data were obtained by means of interviews, browsing archives in the form of newspaper clippings, and documentation of works of art. The results showed that Darvies Rasjidin's background in his artistic journey was inseparable from his family environment, social arts institutions and the role of social actors who supported his creative process. Furthermore, the changes in Darvies Rasjidin's works in his artistic journey are influenced by factors of different economic demands, social environment, and artistic climate between West Sumatra and Yogyakarta.Keywords: sociohistorical, art painting.AbstrakPenelitian ini bertujuan mengeksplanasikan latar belakang perjalanan berkesenian Darvies Rasjidin dan faktor-faktor yang memengaruhi perubahan karyanya. Darvies merupakan seniman asal Sumatera Barat yang saat ini bermukim di Yogyakarta. Sekitar pertengahan tahun 70-an karyanya berbeda dari arus maistream yang berkembang di Sumatera Barat yaitu surealistik bertemakan Minang. Namun pada periode selanjutnya, ia memutuskan hijrah ke Yogyakarta. Karyanya mengalami perubahan dalam corak ke arah yang lebih kontemporer. Metode penelitian yang digunakan adalah kualitatif bersifat analisis deskriptif dengan pendekatan sosiohistoris. Data penelitian diperoleh dengan cara wawancara, penjelajahan arsip berupa kliping koran, dan dokumentasi karya seni. Hasil penelitian menunjukkan latar belakang Darvies Rasjidin dalam perjalanan berkeseniannya tidak terlepas dari lingkungan keluarga, institusi sosial seni serta peran pelaku sosial yang mendukung proses kreatifnya. Selanjutnya, perubahan karya-karya Darvies Rasjidin dalam perjalanan berkeseniannya dipengaruhi oleh faktor tuntutan ekonomi, lingkungan sosial, dan iklim berkesenian yang berbeda antara di Sumatera Barat dan Yogyakarta.Kata Kunci: Sosiohistoris, seni lukis.Authors:Nessya Fitryona : Universitas Negeri PadangMaltha Kharisma : Universitas Negeri PadangReferences:_________. (1992 September 24). Kehidupan Seni Lukis Sumbar Memprihatinkan. Singgalang. Informasi Seksi: ___ (____).Denzin, N. K., & Lincoln, Y.S. (2009). Handbook of Qualitative Research. Yogyakarta: Pustaka Pelajar.Fitryona, N. (2017). The Dialectic of Visual Arts Life in West Sumatra 1986-2003. International Journal of Creative and Arts Studies, 4(1), 27-39.Fitryona, N. (2014). “Darvies Rasjidin dan Karya-Karyanya”. Hasil Wawancara Pribadi: 03 Oktober 2014, Yogyakarta.Fitryona, N. (2014). “Perjalanan Berkesenian Darvies Rasjidin#1”, Hasil Wawancara Pribadi: 22 November 2014, Yogyakarta.Fitryona, N. (2014). “Perjalanan Berkesenian Darvies Rasjidin#2”, Hasil Wawancara Pribadi: 23 November 2014, Yogyakarta.Kartodirdjo, Sartono. (1993). Pendekatan Ilmu Sosial Dalam Metodologi Sejarah. Jakarta : Gramedia.Larenz, A., dkk. (2016). Cadiak Indak Mambuang Pandai. Katalog BAKABA#5. Kumpulan Karya Pelukis: ___ (____).Moenir, Darman. (1979 Juni 21). Catatan Kebudayaan : Seni Lukis (di) Sumatra Barat. Haluan. Informasi Seksi: ___ (____).Moenir, Darman. (1979 Juli 3). Catatan Kecil Pameran Tunggal Darvies Rasjidin di PKP. Haluan. Informasi Seksi: ___ (____).Navis, A. A. (1999 April 5). Tentang Anungrah Seni 1999. Haluan. _______: 4 (Kol 1-2).Pamola, D., & Makoginta, A. R. (2012 Desember 18). Antara Pintu & Halaman. Katalog BAKABA#2. Kumpulan Karya Pelukis: ____ (____).Rasjidin, Darvies. (2014). “Kumpulan Karya-Karya Lukisan”. Hasil Dokumentasi Pribadi: 09 April 2014, Yogyakarta.Rasjidin, Darvies. (2014). “Potret Diri”. Hasil Dokumentasi Pribadi: 10 Juni 2018, Yogyakarta.Yurnaldi. (1992 Juli 7). Ide-Ide Cemerlang Darvies dan Essensi Warna Asri Rosdi. Haluan. _____: ____ (____).Yusrizal. (1996 September 24). Retak-Retak Bentuk dalam Acuan Minangkabau. Haluan. ______: ____ (____).Zolberg, Vera L. (1990). Constructing s Sosiology of The Art. New York: Cambridge University Press.

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Three Gustave Moreau Pictures: Myth, Religion, Creativity

Journal of Siberian Federal University Humanities & Social Sciences ◽

10.17516/1997-1370-0447 ◽

2019 ◽

pp. 1316-1334

Author(s):

Ekaterina A. Sertakova ◽

Natalia M. Leshchinskaia ◽

Maria A. Kolesnik

Keyword(s):

Creative Process ◽

Cultural Analysis ◽

Relationship Of ◽

The Relationship ◽

Gustave Moreau

This article is devoted to the study of paintings by the famous French artist Gustave Moreau called the “last romantic”. Gustave Moreau was one of the main representatives of the symbolism, formally and factually realizing its principles in his works. The article explores the relationship of mythology, religious and creative ideas in Gustave Moreau’s paintings on the basis of philosophical and cultural analysis of his three paintings, demonstrating the image of the poet. A research into the painter’s works revealed the essence of the Gustave Moreau’s creative process and specified the potential of further analysis of the myth-making in art.

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