4. Modernist Reception of Japanese and Indian Traditional Music between 1910 and 1945: Delage, Cowell, Mitsukuri, and Hayasaka

Keyword(s):  
2020 ◽  
Vol 4 (1) ◽  
pp. 54-61
Author(s):  
Vinky Rahman ◽  
Muhammad Khairy Humaizy

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.


2016 ◽  
Vol 33 (1) ◽  
pp. 92-116 ◽  
Author(s):  
David K. Blake

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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