scholarly journals Postcolonial Aesthetics: Talempong Kreasi and Talempong Goyang in West Sumatra

2017 ◽  
Vol 29 (3) ◽  
pp. 245
Author(s):  
Andar Indra Sastra ◽  
Nadya Fulzi ◽  
Syahri Anton
Keyword(s):  
Music Education ◽  
Qualitative Data ◽  
Postcolonial Theory ◽  
Musical Instrument ◽  
The Body ◽  
Western Music ◽  
Material Object ◽  
Colonial Era ◽  
Art Object ◽  
West Sumatra

ABSTRACTThe aim of this article is to disclose the postcolonial aesthetics of talempong kreasi and talempong goyang in West Sumatra. Aesthetics can be defined as a sense of perception or the various kinds of feelings that are aroused by an art object that is being observed. Postcolonialism is understood to be the continuation of colonialism; hence postcolonial aesthetics discusses the sense of perception, in this case with reference to talempong kreasi and talempong goyang as the material object. Talempong is a type of bronze musical instrument found in West Sumatra; the word kreasi means ‘creation’ or something new, while the word goyang means ‘rocking’ or ‘swaying’ and refers to the body movements of the spectators as they appear to dance in time to the talempong music. The addition of the words kreasi and goyang after the word talempong create the impression that this type of music belongs to the domain of popular music. The emergence of these two concepts in West Sumatra cannot be separated from the influence and power of a number of leading figures in the field of education – specifically artists – from the colonial era, who had a background in Western music education. Talempong kreasi and talempong goyang are dynamic in nature and have the ability to play both major and minor melodies as the talempong instruments are tuned to chromatic pitches. The tuning system of the talempong is akin to that of diatonic musical instruments, and as a musical system it presents the harmonies of Western music through its melodies and chords. The problem to be addressed in this article focuses on postcolonial aesthetics, with talempong kreasi and talempong goyang in West Sumatra as the material object of the study. This phenomenon is examined using the postcolonial theory, relying on qualitative data which is supported by additional qualitative data. The results of the research show that talempong kreasi and talempong goyang in West Sumatra are a product of postcolonialism. Keywords: aesthetics, postcolonial, talempong kreasi, talempong goyang                 and West Sumatra. 

scholarly journals Postcolonial Aesthetics: Talempong Kreasi and Talempong Goyang in West Sumatra

2017 ◽  
Vol 29 (3) ◽  
pp. 245
Author(s):  
Andar Indra Sastra ◽  
Nadya Fulzi ◽  
Syahri Anton
Keyword(s):  
Music Education ◽  
Qualitative Data ◽  
Postcolonial Theory ◽  
Musical Instrument ◽  
The Body ◽  
Western Music ◽  
Material Object ◽  
Colonial Era ◽  
Art Object ◽  
West Sumatra

The aim of this article is to disclose the postcolonial aesthetics of talempong kreasi and talempong goyang in West Sumatra. Aesthetics can be defined as a sense of perception or the various kinds of feelings that are aroused by an art object that is being observed. Postcolonialism is understood to be the continuation of colonialism; hence postcolonial aesthetics discusses the sense of perception, in this case with reference to talempong kreasi and talempong goyang as the material object. Talempong is a type of bronze musical instrument found in West Sumatra; the word kreasi means ‘creation’ or something new, while the word goyang means ‘rocking’ or ‘swaying’ and refers to the body movements of the spectators as they appear to dance in time to the talempong music. The addition of the words kreasi and goyang after the word talempong create the impression that this type of music belongs to the domain of popular music. The emergence of these two concepts in West Sumatra cannot be separated from the influence and power of a number of leading figures in the field of education – specifically artists – from the colonial era, who had a background in Western music education. Talempong kreasi and talempong goyang are dynamic in nature and have the ability to play both major and minor melodies as the talempong instruments are tuned to chromatic pitches. The tuning system of the talempong is akin to that of diatonic musical instruments, and as a musical system it presents the harmonies of Western music through its melodies and chords. The problem to be addressed in this article focuses on postcolonial aesthetics, with talempong kreasi and talempong goyang in West Sumatra as the material object of the study. This phenomenon is examined using the postcolonial theory, relying on qualitative data which is supported by additional qualitative data. The results of the research show that talempong kreasi and talempong goyang in West Sumatra are a product of postcolonialism.

scholarly journals National musical instrument; Timbre; Charm; Piano music

2018 ◽  
Vol 1 (4) ◽  
pp. 105
Author(s):  
Xiaolan Cui
Keyword(s):  
Music Education ◽  
20Th Century ◽  
Piano Music ◽  
Traditional Music ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Western Music ◽  
Social Activities ◽  
Music Culture ◽  
Chinese Music

At the beginning of the 20th century, Western music gradually integrated into Chinese music education institutions and various music social activities. The timbre, range and comprehensive expression of Western musical instruments have played an important role in promoting the performance of Chinese national musical instruments. At the same time, Chinese traditional music culture has also had an important impact on the localization of Western music in China, especially for the piano music.

An Integrated Servqual and Gap Model in Evaluating Customer Satisfaction in Budget Hotels in Nairobi City County, Kenya

2019 ◽  
Vol 3 (II) ◽  
pp. 41-70
Author(s):  
Florence Wanjiku Njau ◽  
Mary Mutisya Mutungi ◽  
Rayvisic Mutinda
Keyword(s):  
Data Analysis ◽  
Customer Satisfaction ◽  
Service Quality ◽  
Service Delivery ◽  
Qualitative Data ◽  
Service Design ◽  
Moderating Effect ◽  
The Body ◽  
Gap Model ◽  
Customer Expectations

Increasingly, hotel industry has witnessed rapid growth in the 21stcentury and as a result competition within the industry has also intensified. This competition has been fueled by the preoccupation of service quality to add value and strengthen the complete guest experience. However, a major challenge facing the sector is the aspect of service quality particularly in budget hotels which target price sensitive customers. These hotels provide the customers with satisfactory core product at a reasonable price but tend to focus more on profits than on customer satisfaction. The services offered are not standardized and service quality variability is a challenge. The study used an integrated SERVQUAL and Gap model to evaluate customer satisfaction in budget hotels in Nairobi City County, Kenya. The specific objectives of the study were to determine the effect of service design on customer satisfaction, establish the effect of service delivery on customer satisfaction and determine the moderating effect of management perception of service quality on customer satisfaction in budget hotels in Nairobi City County, Kenya. The study adopted a cross sectional survey design and was conducted in 50 budget hotels. A sample size of 334 drawn from the hotel managers, customers and employees were involved in this study. Systematic random sampling technique was used to select the study sample for customers and employees. Data were collected through use of questionnaires and interviews. Both descriptive and inferential statistics was used in data analysis. The study hypotheses were tested was tested using multiple regression (ANOVA) and qualitative data from management perception was analyzed using qualitative data analysis (QCA). The regression analysis indicated that all five dimensions of service quality in service design were significant (0.000) when tested at 95% confidence level. The model was found to be significant. Correlation analysis indicated that the service design factors that had significant impact were realization of assured service in reliability (p = .044 < .05), responsiveness in informing the customers about the time of service delivery (p = .000< .05) and empathy in that operating hours are convenient to customers (p = .030 < .05). The other variables did not have significant values. The results indicate that there are gaps in the budget hotels under study between service design and customer satisfaction. Relationship between service delivery and customer satisfaction was found to be positive but not all the variables were significant. The study findings indicated that four variables; good location (p = .115 > .05), closeness to main city facilities (p = .527 > .05), someone recommended hotel (p = .665 > .05), and good experiences from the hotel (p = .458 > .05) did not have no significant values. This implied that these variables did not have an effect on customer satisfaction resulting in a gap between service delivery and customer satisfaction. This indicated that the service delivery did fully not meet customer expectations. Management perception was found to have a moderating effect between service quality and customer satisfaction. The study concluded that although managers seemed to have a reasonably good understanding of the customer and developed service designs for quality service delivery, the services delivered still fell short of customer expectations. The study therefore recommends that to enhance customer satisfaction, management needs to focus on the changing needs of their customers and develop service designs that twill offer service delivery that satisfies the customer. The study makes some contribution to the body of knowledge as an integrated model in evaluating customer satisfaction. This is an open-access article published and distributed under the terms and conditions of the  Creative Commons Attribution 4.0 International License of United States unless otherwise stated. Access, citation and distribution of this article is allowed with full recognition of the authors and the source.

The Concept of Animals in Balinese Proverbs

2017 ◽  
Vol 3 (1) ◽  
pp. 87
Author(s):  
I Wayan Budiarta ◽  
Ni Wayan Kasni
Keyword(s):  
Short Story ◽  
Cognitive Processes ◽  
Qualitative Data ◽  
Syntactic Structure ◽  
The Body ◽  
Biological Characteristic ◽  
Speech Community ◽  
Target Domain ◽  
Source Domain ◽  
Mapping Process

This research is aimed to figure out the syntactic structure of Balinese proverbs, the relation of meaning between the name of the animals and the meaning of the proverbs, and how the meanings are constructed in logical dimension. This research belongs to a qualitative as the data of this research are qualitative data which taken from a book entitled Basita Paribahasa written by Simpen (1993) and a book of Balinese short story written by Sewamara (1977). The analysis shows that the use of concept of animals in Balinese proverbs reveal similar characteristics, whether their form, their nature, and their condition. Moreover, the cognitive processes which happen in resulting the proverb is by conceptualizing the experience which is felt by the body, the nature, and the characteristic which owned by the target with the purpose of describing event or experience by the speech community of Balinese. Analogically, the similarity of characteristic in the form of shape of source domain can be proved visually, while the characteristic of the nature and the condition can be proved through bodily and empirical experiences. Ecolinguistics parameters are used to construct of Balinese proverbs which happen due to cross mapping process. It is caused by the presence of close characteristic or biological characteristic which is owned by the source domain and target domain, especially between Balinese with animal which then are verbally recorded and further patterned in ideological, biological, and sociological dimensions.

Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning

2020 ◽  
pp. 291-312
Author(s):  
Marissa Silverman
Keyword(s):  
Social Media ◽  
Music Education ◽  
Case Studies ◽  
Teaching And Learning ◽  
The Body ◽  
The Internet ◽  
Philosophical Investigation ◽  
Music Teaching ◽  
Music Making ◽  
The Voice

This chapter asks an important, yet seemingly illusive, question: In what ways does the internet provide (or not) activist—or, for present purposes “artivist”—opportunities and engagements for musicing, music sharing, and music teaching and learning? According to Asante (2008), an “artivist (artist + activist) uses her artistic talents to fight and struggle against injustice and oppression—by any medium necessary. The artivist merges commitment to freedom and justice with the pen, the lens, the brush, the voice, the body, and the imagination. The artivist knows that to make an observation is to have an obligation” (p. 6). Given this view, can (and should) social media be a means to achieve artivism through online musicing and music sharing, and, therefore, music teaching and learning? Taking a feminist perspective, this chapter interrogates the nature of cyber musical artivism as a potential means to a necessary end: positive transformation. In what ways can social media be a conduit (or hindrance) for cyber musical artivism? What might musicing and music sharing gain (or lose) from engaging with online artivist practices? In addition to a philosophical investigation, this chapter will examine select case studies of online artivist music making and music sharing communities with the above concerns in mind, specifically as they relate to music education.

The Oxford Handbook of Feminist Philosophy

2021 ◽  
Keyword(s):  
Critical Race Theory ◽  
Queer Theory ◽  
Postcolonial Theory ◽  
The Body ◽  
Feminist Philosophy ◽  
Comprehensive Overview ◽  
Rich Diversity ◽  
Trans Studies ◽  
Feminist Perspectives ◽  
The Rich

This exciting new Handbook offers a comprehensive overview of the contemporary state of the field. The editors’ introduction and forty-five essays cover feminist critical engagements with philosophy and adjacent scholarly fields, as well as feminist approaches to current debates and crises across the world. Authors cover topics ranging from the ways in which feminist philosophy attends to other systems of oppression, and the gendered, racialized, and classed assumptions embedded in philosophical concepts, to feminist perspectives on prominent subfields of philosophy. The first section contains chapters that explore feminist philosophical engagement with mainstream and marginalized histories and traditions, while the second section parses feminist philosophy’s contributions to with numerous philosophical subfields, for example metaphysics and bioethics. A third section explores what feminist philosophy can illuminate about crucial moral and political issues of identity, gender, the body, autonomy, prisons, among numerous others. The Handbook concludes with the field’s engagement with other theories and movements, including trans studies, queer theory, critical race, theory, postcolonial theory, and decolonial theory. The volume provides a rigorous but accessible resource for students and scholars who are interested in feminist philosophy, and how feminist philosophers situate their work in relation to the philosophical mainstream and other disciplines. Above all it aims to showcase the rich diversity of subject matter, approach, and method among feminist philosophers.

Barre Matters: Hybrid Formations of Ballet and Group Fitness

Somatechnics ◽  
2021 ◽  
Vol 11 (2) ◽  
pp. 191-210
Author(s):  
Pirkko Markula
Keyword(s):  
Cultural Production ◽  
The Body ◽  
Material Object ◽  
Group Exercise ◽  
Contemporary World ◽  
Gendered Identities ◽  
Theoretical Approaches ◽  
Fitness Industry ◽  
Body Ideal ◽  
Health Eating

Employing a variety of theoretical approaches, feminist researchers have critiqued the fitness industry of its singular emphasis on the impossible, narrowly defined feminine body ideal that is likely to cause more mental (e.g., body dissatisfaction) and physical ill health (eating disorders, injuries) than improve fitness. With the focus on social construction of gendered identities, there has been less problematisation of the materiality of the fitness practices and their impact on the cultural production of the moving body. In this article, I adopt a Latourian approach to seek for a more complete account of the body in motion and how it matters in the contemporary world. A barre class as a popular group exercise class that combines ballet and exercise modalities offers a location for such an examination due to the centrality of a non-human object, the barre, that distinguishes it from other group exercise classes. I consider how exercise practices may be constituted in relation to a material object, the barre, and how the physical and material intersect, historically, with the cultural politics of fitness and dance from where the barre originates. To do this, I trace the journey of the barre from ballet training to the fitness industry to illustrate how human and non-human associations create a hybrid collective.

scholarly journals Personality traits of a music teacher

2006 ◽  
Vol 38 (1) ◽  
pp. 247-263 ◽  
Author(s):  
Blanka Bogunovic
Keyword(s):  
Music Education ◽  
Personality Traits ◽  
Music Teachers ◽  
Practical Implication ◽  
Personal Characteristics ◽  
Musical Instrument ◽  
Music Teacher ◽  
Public Performance ◽  
Music Schools ◽  
Musical Education

In the context of individual musical instrument teaching, pedagogical abilities of a music teacher and the atmosphere he creates, result from his personality traits and can be of crucial importance for the initial and further progress of his students. The paper seeks to: describe the personality of a music instrument teacher, determine the differences in comparison to a group of non-musicians, and determine the position of personal characteristics in the structure of general and professional teacher profile. The sample comprised 60 individuals, teaching various musical instruments in five primary music schools. The research method is explorative and based on the use of the five-factor personality model (NEO PI-R was administered). The findings show that music teachers display a higher level of: openness, agreeableness and conscientiousness. The degree of congruence with the findings of other research is discussed and certain similarities were found, as well as differences stemming from professional and cultural specificities. Differences are proved to exist in relation to gender, musical instrument, working experience, degree of musical education and active public performance. Compared to non-musical population, it is confirmed that teachers of instrument in musical education represent a distinctive group. There are also differences between teachers who are oriented to pedagogic work only and those who, in addition, actively perform in public. Selection of teachers, according to characteristics which may be connected to students? accomplishment, is a practical implication relevant for the music education.

scholarly journals Pedagogical Potential of Mental Practice in Teaching Brass Instruments at University

2021 ◽  
Author(s):  
Laura Muceniece ◽  
◽  
Dace Medne ◽  
Ērika Gintere ◽  
◽  
...  
Keyword(s):  
Higher Education ◽  
Music Education ◽  
Musical Instrument ◽  
Mental Practice ◽  
Musical Education ◽  
Brass Instruments ◽  
Second Stage ◽  
Teaching Music ◽  
Two Stages ◽  
Overall Effectiveness

At any level of musical education, it is very important to improve one’s musicianship skills, which can only be achieved through consistent training and playing their musical instrument. Physical training is a very important part of the learning process; however, its combination with mental practice has been proved to be much more effective. Although such an approach is important at all levels of musical education, the paper addresses it in the context of higher education. Thus, the aim of this study is to determine the pedagogical potential of mental practice in the process of teaching music in higher education. The research was implemented in two stages. First, a survey was conducted to gather information about the respondents’ habits when learning musical pieces. At this stage, the study involved 68 brass students from different universities around the world between the ages of 19 and 25. The second stage of the research comprised the development of the program of mental practice (PMP) with structured observation as a method and 7 participants from Latvian and Norwegian higher music education institutions. The obtained results allow to conclude that the inclusion of mental practice in the practicing routine significantly improves the overall level of concentration and stability both in the process of training and during performances. Mental practice also provides an opportunity to increase the duration of training as well as enhances the overall effectiveness of practicing and concentration during performances.

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