scholarly journals Teaching Art Music in Nigerian Schools: The Academic, Technical and Social Implications

2018 ◽  
Vol 7 (1) ◽  
Author(s):  
Femi Sinaola Abiodun
Keyword(s):  
Music Composition ◽  
Traditional Music ◽  
Art Music ◽  
Music Instruction ◽  
Musical Composition ◽  
Social Implications ◽  
Global Level ◽  
Music Training ◽  
The People ◽  
Western Medium

Art music in the Nigerian context is the composition of Nigerians who have formal music training and have composed using Western medium to express traditional Nigerian music. This paper sets out to illuminate the technicalities involved in this form of musical composition and proposes a model of art music instruction for Nigerian schools. The author posits that the teaching and performing of art music in Nigerian schools will bring music closer to the people. He argues that whereas art music is an aberration from Nigerian traditional music, yet with concerted efforts and skill, the practice of art music will help in preserving Nigerian culture on paper and facilitate the promotion of its local music to the global level. The paper concludes that traditional music elements that are entrenched in art music composition can constitute a model and parameter for identifying and appreciating Nigerian music. The teaching of art music therefore must be encouraged by Nigerian music curricular planners.Art music in Nigerian context is the composition of Nigerians who have formal music training and have composed usingWestern medium to express traditional Nigerian music. This paper sets out to illuminate the technicalities involved in this form of musical composition and proposes a model of art music instruction for Nigerian schools. The author posits that the teaching and performing of art music in our schools will bring music closer to the people. The author equally argues that whereas art music is an aberration from our traditional music, yet with concerted efforts and skill, the practice of art music will help in preserving our culture on paper and facilitate the promotion of our local music to the global level. The paper concludes that traditional music elements that are entrenched in art music composition can constitute a model and parameter for identifying and appreciating Nigerian music. The teaching of art music, therefore, must be encouraged by Nigerian music curricular planners.

scholarly journals “Belenggu Benalu”: Komposisi Kolaborasi-Interpretatif mengenai Pengaruh Akulturasi Budaya Barat pada Musik Batak Toba “Uning-uningan”

2019 ◽  
Vol 2 (1) ◽  
pp. 85
Author(s):  
Oang Gabriel Matanari ◽  
I Komang Darmayuda ◽  
Ni Wayan Ardini
Keyword(s):  
Music Composition ◽  
Great Influence ◽  
Traditional Music ◽  
Negative Influence ◽  
Musical Composition ◽  
Large Space ◽  
Foreign Culture ◽  
The People ◽  
Art And Culture ◽  
Single Organ

Budaya asing yang masuk ke tanah Batak di Sumatera Utara, Indonesia, membawa pengaruh yang besar bagi perkembangan musik Batak Toba atau Uning-uningan, yaitu ansambel hasil transformasi antara Gondang Hasapi yang terdiri atas Sarune Etek, Hasapi Doal, Hasapi Ende, Garantung, serta Hesek, dengan Gondang Sabangunan/Bolon (Taganing, Ogung (Gong), Odap, dan Hesek serta Sarune Bolon). Dalam perkembangan zaman ini, sebagian besar acara adat Batak Toba menyajikan konsep musik Uning-uningan dengan iringan keyboard, bahkan dalam banyak situasi, ketika terdapat keterbatasan dana di dalamnya, otomatis ada ruang yang besar bagi pemain organ tunggal untuk mengaplikasikan repertoar-repertoar musik Uning-uningan hanya dengan keyboard-nya. Hal tersebut tentunya memberikan pengaruh negatif bagi eksistensi musik tradisional Batak Toba ini. Alhasil pengaruh yang terjadi akibat budaya Barat mampu menarik minat masyarakat Batak Toba, sehingga masyarakat Batak Toba lebih menyukai konsep musik Uning-uningan dengan iringan keyboard. Oleh sebab itu, keprihatinan penulis sekaligus komposer dalam menanggapi pengaruh akulturasi terhadap eksistensi musik tradisi Batak Toba dituangkan dalam komposisi musik dengan judul “Belenggu Benalu”. Melalui komposisi musik ini penulis berharap masyarakat Batak Toba, khususnya para musisi Batak sadar dan turut berpartisipasi dalam melestarikan serta menjaga Uning-uningan dan musik tradisional Batak lainnya sebagai salah satu identitas dari keragaman seni dan budaya Indonesia.  Foreign culture that enters Batak land in North Sumatera, Indonesia, has a great influence on the development of the Batak Toba music or Uning-uningan (an ensemble transformed between Gondang Hasapi consisting of Sarune Etek, Hasapi Doal, Hasapi Ende, Garantung, as well as Hesek and Gondang Sabangunan/Bolon (Taganing, Ogung (Gong), Odap, Hesek and Sarune Bolon). Nowadays, most of the traditional Batak Toba ceremonials present the concept of Uning-uningan music with keyboard accompaniment, especially in the situations that there is a budget limitation which gives a large space for single organ players (keyboardist) to apply Uning-uningan musical repertoires only with an instrument (i.e. the keyboard). This certainly gives negative influence on the existence of the Batak Toba traditional music. As a result the influence that happened because of the western culture makes the people of Batak Toba prefers the musical concept of Uning-uningan with keyboard accompaniment. Therefore, the concern of the author and composer in responding to the influence of acculturation on the existence of Batak Toba traditional music is outlined in musical composition entitled “Belenggu Benalu”. Through this music composition hopefully the people of Batak Toba, especially Batak musicians are aware and participate in preserving and maintaining Uning-uningan and other traditional Batak music as one of the identities of the Indonesian art and culture diversity.

scholarly journals Pencug

SELONDING ◽  
2019 ◽  
Vol 13 (13) ◽  
Author(s):  
Adimas Muhammad Fajariansyah
Keyword(s):  
Music Composition ◽  
Art Music ◽  
Musical Composition ◽  
Musical Form ◽  
Work Of Art ◽  
Art Object ◽  
Musical Works ◽  
The Creation

The time until now the existence of tepak pencug has not found a place in the hearts of the composers or other creators to make it as the source of creation in realizing a work of art (music). Though tepak pencug often used as a creativity event of a rider in accompanying dance jaipong for improvisation rythm. That way, it is clear that many patterns or motifs of Sundanese drums are born by improvisations. That is the good idea for creation to be developed into a work of music. Based on the symptoms of that’s the meaning, the idea that becomes an offer in the work of pencug music is to cultivate or explore the motives that exist in kendang sunda (especially tepak pencug) into a work of art object (music).The purpose of the creation of the compositions of musical works is to develop patterns, rhythms and motifs in the form of music composition. While the benefit is to contribute thoughts about the process of creation through the development of patterns, rhythms and motifs in the drum kendang Sunda to other creators. The realization of the work of this musical composition can’t be separated from various sources that provide inspiration and guidance or reference. This work uses two types of sources as a reference, namely the source of art work and some sources of books (literature of review). The work of the composition of pencug music refers to the concept of working on Suwanda as the owner and creator of tepak kendang jaipongan. These methods include; Salambar directly saayana tinu heubeul (what it is from the first), janten ku nyira (so by itself or improvisation) and ngarobah nu aya (change existing). The form of musical composition of pencug composition refers to the concept of musical form of vocal-instrumental mix (sekar gending). The structure of the composition of the music composition consists of three parts, among which part bubuka, stuffing and ending. Keywords: Tepak Pencug, Development, Sekar Gending.

scholarly journals The Creation of Abelengro: A Cross-Cultural Art Music Composition

2021 ◽  
Vol 1 (1) ◽  
pp. 13-25
Author(s):  
Justice O. ◽  
Emmanuel O.A.
Keyword(s):  
Music Composition ◽  
Traditional Music ◽  
Art Music ◽  
Cross Cultural ◽  
African Identity ◽  
East Region ◽  
Wide Range ◽  
Musical Knowledge ◽  
Musical Elements ◽  
Source Materials

Ethnomusicology has an important mission of providing a body of musical knowledge that can be drawn on by artist-composers, performers, dancers as well as scholars in the field of music. The paper therefore presents an outcome of a creative ethnomusicological study of abele music among the Yeji people of the Bono-East Region in Ghana. Using Euba’s theory of creative ethnomusicology and Nketia’s concept of syncretism, the study highlights the indigenous elements of abele musical genre and unearths the process where these elements were used to create a musical artefact called Abelengro. Data for the study were collected through observation and adopted definitive analysis to provide the materials for the composition. The study revealed that Abele music contains rich source materials for creating a neoclassicism of African traditional music that could be enjoyed by a wide range of people. It is envisaged that these rich indigenous musical elements and idioms are harnessed by contemporary art musicians to achieve the uniqueness of African identity in art music compositions in Ghana.

Music after the Fall

2017 ◽  
Author(s):  
Tim Rutherford-Johnson
Keyword(s):  
New Media ◽  
Contemporary Music ◽  
The United States ◽  
Art Music ◽  
Sound Art ◽  
Musical Composition ◽  
Western Art ◽  
Wide Range ◽  
Definition Of ◽  
The Cold War

By the start of the 21st century many of the foundations of postwar culture had disappeared: Europe had been rebuilt and, as the EU, had become one of the world’s largest economies; the United States’ claim to global dominance was threatened; and the postwar social democratic consensus was being replaced by market-led neoliberalism. Most importantly of all, the Cold War was over, and the World Wide Web had been born. Music After The Fall considers contemporary musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media. Drawing on theories from the other arts, in particular art and architecture, it expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall. Each chapter considers a wide range of composers, performers, works, and institutions are considered critically to build up a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from South American electroacoustic studios to pianos in the Australian outback. A new approach to the study of contemporary music is developed that relies less on taxonomies of style and technique, and more on the comparison of different responses to common themes, among them permission, fluidity, excess, and loss.

KELOMPOK MUSIK REJUNG PESIRAH: STRATEGI ADAPTASI PADA MASYARAKAT PALEMBANG

2019 ◽  
Vol 2 (2) ◽  
pp. 27-37
Author(s):  
Dwi Putri Agustini
Keyword(s):  
Cultural Anthropology ◽  
Case Study Research ◽  
Traditional Music ◽  
Adaptation Strategy ◽  
The People ◽  
Musical Arrangements ◽  
The Face ◽  
Cultural Modification ◽  
Traditional Arts

The present phenomenon has clearly brought a change and the influence of the development of traditional music in Palembang society, if this is not carefully addressed, it will experience a shift, alienation and even lose its supporters. The rejung pesirah music group is one of the music groups that still maintains traditional arts in the people of Palembang. This study examines how the adaptation strategy of the rejung pesirah music group in dealing with changes and developments in Palembang society. For this reason, the approach used is cultural anthropology with qualitative case study research methods in Palembang. Data collection is done through observation, interviews and document studies that use triangulation techniques as the validation of the data, while for data analysis through content analysis and interactive models. The results showed that the adaptation strategy undertaken by the rejung pesirah music group was an act and creative ability and had a positive mindset, understanding in responding to changes and needs as an impulse to develop in the face of environmental change and development through learning processes and cultural modification, which resulted a creativity that is the creation of songs, musical arrangements, and musical instruments in the rejung pesirah music group.

scholarly journals Function of Traditional Music Karo Gendang Lima Sedalanen in Implementation of Erpangir Kulau Ceremony

2020 ◽  
Vol 3 (2) ◽  
pp. 734-739
Author(s):  
Octaviana Tobing
Keyword(s):  
Emotional Expression ◽  
Traditional Music ◽  
Cultural Preservation ◽  
Social Response ◽  
Strong Energy ◽  
The People ◽  
Music Ensemble ◽  
Supporting Element

Erpangir kulau is a term or name created by the Karo community to express a tradition of religious ceremonies or self-cleansing rituals in the Karo community, which uses Karo traditional music, ensemble Gendang Lima Sedalanen, as a supporting element of its implementation. The purpose of this study was to determine the Function of Traditional Music Karo Gendang Lima Sedalanen in Implementation of the Erpangir Kulau Ceremony. The results showed that the five functions according to the Kustap theory were fulfilled by the use of the ensemble Gendang Lima Sedalanen. In its function as an emotional expression, it can be seen from how the ensemble has a strong energy to bring out the emotions of all the actors involved in carrying out the religious ceremonial activities, so that various attitudes of the ceremonial participants appear. Whereas in its function as a communication is realized during the ongoing communication between guru sibaso  who act as a medium between the spirit that is believed to be present, and the people who carry out pangir. Furthermore, the function of Gendang Lima Sedalanen as a social response arises from how the entire Karo community with various temperaments, but can unite to carry out this ceremony. When it functions as a cultural preservation fulfilled through its use in the ritual Erpangir Kulau ritual, it is a form of appreciation and love for their culture. Finally, in its function as a symbol representation is realized through guru sibaso who is a symbol of someone who has his own expertise or prestige.

Sustainable financing and anti-squandering measures in Rastin banking

2017 ◽  
Vol 59 (6) ◽  
pp. 939-949
Author(s):  
Bijan Bidabad ◽  
Mahshid Sherafati
Keyword(s):  
Sustainable Development ◽  
Design Methodology ◽  
Financial Resources ◽  
Social Implications ◽  
Content Type ◽  
The Sustainable Development ◽  
Investment Projects ◽  
The People ◽  
Practical Implications ◽  
Sustainable Financing

Purpose This paper aims to define a set of anti-squandering guideposts to improve the sustainability and efficiency of allocating financial resources to investment projects. Design/methodology/approach A set of sustainable financing and anti-squandering measures are proposed for a better allocation of the bank’s financial resources. These measures were derived from the doctrine of “ethic economics”, humanitarian principles and Islamic teachings. Rastin banking provides a base to apply these measures. Findings A draft of the regulations for sustainable financing and anti-squandering measures was compiled for Rastin banking operations, which is briefly presented in this paper and can be used as a basis for the codification of the respective laws. Research limitations/implications Such kinds of regulations are novel and need to be deeply discussed in the first place. After adaptation, adjustment and performing the necessary modifications, the text of the law can be codified. Practical implications Banks through granting loans, credits and other financial facilities can affect the investment projects in such a way to prevent the extravagant consumption of financial resources in investment projects and consider the sustainable development guidelines. Social implications The proposed guideposts can be detailed and adopted in other countries, especially those that are inefficient in their banking and financial operations. Originality/value Wasteful allocation of financial resources leads to the wastage of resources and reduction of productivity and provides benefit neither for the people nor for the society. Hence, the present paper tries to practically solve the problem for financial operations.

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