Croatian Traditional Music Recordings: The 1990s and 2000s (review)

2010 ◽  
Vol 123 (489) ◽  
pp. 331-345
Author(s):  
Naila Ceribašć ◽  
Joško Ćaleta
Keyword(s):  
Traditional Music ◽  
Music Recordings

Gamelan Melayu Sound Preservation and Archiving through Recording Methods and Production Techniques

2020 ◽  
Vol 6 ◽  
pp. 17-40
Author(s):  
Muralitheran Munusamy
Keyword(s):  
Sound Production ◽  
Dynamic Range ◽  
Technical Specification ◽  
Traditional Music ◽  
Information Storage ◽  
Social Scientists ◽  
Audio Engineering ◽  
Production Techniques ◽  
Audio Data ◽  
Music Recordings

Sound or audio engineering is a branch of the field of engineering, which involves the process of recording sound and reproducing it by various means, as well as storing in order to be reproduced later. Known as sound or audio engineers, these trained professionals work in a variety of sound production fields and expert in recording methods. They can be instrumental to implement the affordable technologies and technical process to distribute the audio data hence, making it accessible for future generations. The current role of these engineers not only to perform or limited to recording session but they create metadata for archiving and preservation for future needs. Currently, product sleeves of ethnographic recordings represent no technical elements of how traditional music recordings are produced. The product details focus only to some extent on historical elements and musical notation. To an audio archivist, declaring what devices are in a recording is not linked with preservation data. Apart from the format, the sleeved design, technical specification is essential to other social scientists such as audio engineer and field recordist of the future. The aim of the present research is to capture optimum dynamic range of the sound and applying a signal processing that would not alter the tonality, timbre and harmonic of the sound. Further applying a suitable information storage for the metadata to be preserve or archived for future accessing and reproduction.

Radio Afghanistan Archive Project

2018 ◽  
pp. 318-330
Author(s):  
Hiromi Lorraine Sakata ◽  
Laurel Sercombe ◽  
John Vallier
Keyword(s):  
Developing World ◽  
Traditional Music ◽  
Video Recordings ◽  
Broad Array ◽  
A Priority ◽  
Archive Project ◽  
Music Recordings

The repatriation of sound and video recordings is one of the ethnomusicology archivist’s most sacrosanct functions. From reviving forgotten traditions to inspiring new ones, recordings have the potential to make a broad array of meaningful impacts once returned to their places of origin. Beyond repatriating recordings, what should archives do to benefit the countries, cultures, and traditions that have made ethnomusicology’s very existence possible? Should ethnomusicologists and archivists work to build the capacity of archives in the developing world? Should they make it a priority to help these archives preserve and provide access to the collections they possess? With this chapter the authors explore these questions while describing a project that has enabled archivists at Radio Afghanistan to preserve and provide wider access to some 8,500 hours of traditional music recordings.

The Design Medan Concert Hall with Metaphor Architecture Approach

2020 ◽  
Vol 4 (1) ◽  
pp. 54-61
Author(s):  
Vinky Rahman ◽  
Muhammad Khairy Humaizy
Keyword(s):  
Secondary Data ◽  
Building Design ◽  
Traditional Music ◽  
Primary Data ◽  
Support Design ◽  
Physical Conditions ◽  
Sound Control ◽  
Strategic Location ◽  
Big City ◽  
Design Ideas

The theater usually has an attractive form to attract the attention of visitors and also has good sound control in the auditorium so as not to cause sound distortion. Performances in Medan are still inadequate to accommodate international performances. Particularly in Medan, the enthusiasm of the community towards art tends to be high, but the facilities of the place lack to accommodate performances. Data collection methods are carried out by collecting primary data through a process of field comparative study and secondary data through literature studies & comparative studies. The design approach used in design studies are analyzing the physical, conditions around the site, potential, the limits that exist on the site, Site and environmental approaches are analysis of site conditions and the best solutions, the user approach is building analysis to meet the need for facilities and quality in accommodating the show, literature studies related to titles and themes and theories that support design ideas. The Metaphor is chosen as a truss design theme to convey the shape of building design by combining metaphorical forms of buildings and the prominence of the same metaphorical theme in the building to those who visit and see buildings to prevent sound distortions by using porous materials. Medan is a big city in Indonesia as a design area with consideration of a strategic location. It is expected that with the presence of this performance center, domestic and foreign tourists and especially Medan people themselves can enjoy the comfort and get to know traditional music and dance in Indonesia.

University Geographies and Folk Music Landscapes

2016 ◽  
Vol 33 (1) ◽  
pp. 92-116 ◽  
Author(s):  
David K. Blake
Keyword(s):  
Mass Culture ◽  
Folk Music ◽  
Traditional Music ◽  
Rural Landscape ◽  
Power Structures ◽  
Distant Object ◽  
University Of Illinois ◽  
Liberal Politics ◽  
Cultural Form ◽  
The University

By examining folk music activities connecting students and local musicians during the early 1960s at the University of Illinois at Urbana-Champaign, this article demonstrates how university geographies and musical landscapes influence musical activities in college towns. The geography of the University of Illinois, a rural Midwestern location with a mostly urban, middle-class student population, created an unusual combination of privileged students in a primarily working-class area. This combination of geography and landscape framed interactions between students and local musicians in Urbana-Champaign, stimulating and complicating the traversal of sociocultural differences through traditional music. Members of the University of Illinois Campus Folksong Club considered traditional music as a high cultural form distinct from mass-culture artists, aligning their interests with then-dominant scholarly approaches in folklore and film studies departments. Yet students also interrogated the impropriety of folksong presentation on campus, and community folksingers projected their own discomfort with students’ liberal politics. In hosting concerts by rural musicians such as Frank Proffitt and producing a record of local Urbana-Champaign folksingers called Green Fields of Illinois (1963), the folksong club attempted to suture these differences by highlighting the aesthetic, domestic, historical, and educational aspects of local folk music, while avoiding contemporary socioeconomic, commercial, and political concerns. This depoliticized conception of folk music bridged students and local folksingers, but also represented local music via a nineteenth-century rural landscape that converted contemporaneous lived practice into a temporally distant object of aesthetic study. Students’ study of folk music thus reinforced the power structures of university culture—but engaging local folksinging as an educational subject remained for them the most ethical solution for questioning, and potentially traversing, larger problems of inequality and difference.

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