Indonesian Music and Dance: Traditional Music and Its Interaction with the West; A Compilation of Articles (1934-1952) Originally Published in Dutch

Asian Music ◽  
1997 ◽  
Vol 29 (1) ◽  
pp. 125
Author(s):  
Roger Vetter ◽  
Japp Kunst ◽  
Ernst Heins ◽  
Elisabeth den Otter ◽  
Felix van Lamsweerde
Keyword(s):  
Traditional Music ◽  
The West

Beneath Improvisation

2019 ◽  
pp. 759-780
Author(s):  
Vijay Iyer
Keyword(s):  
Social Relations ◽  
Black Studies ◽  
Queer Studies ◽  
Traditional Music ◽  
Institutional Racism ◽  
Political Movements ◽  
The West ◽  
Subaltern Studies ◽  
Western Art ◽  
Critical Model

Improvisation has been construed as Western art music’s Other. This chapter urges music theorists to take the consequences of this configuration seriously. The decision to exclude improvisation as inherently unstable is not neutral, but is bound up with the endemic racism that has characterized social relations in the West and that is being brought to the fore in Black Lives Matter and other recent social and political movements. Traditional music theory is not immune from such institutional racism—its insistence on normative musical behaviors is founded on the (white) phallogocentrism of Western thought. Does the resurgent academic interest in improvisation offer a way out? No, at least not as it is currently studied. Even an apparently impartial approach such as cognitive science is not neutral; perception is colored by race. To get anywhere, this chapter argues, improvisation studies must take difference seriously. Important impetus for a more inclusive critical model comes from such fields as Black studies, Women’s studies, subaltern studies, queer studies, and disability studies.

scholarly journals Traditional music protection from the perspective of intangible cultural heritage

2021 ◽  
Vol 9 (4) ◽  
Author(s):  
Jie Zhang
Keyword(s):  
Economic Development ◽  
Cultural Heritage ◽  
National Culture ◽  
Traditional Music ◽  
Intangible Cultural Heritage ◽  
The West ◽  
Key Points ◽  
National Music

Music is a very important part of national culture, and also an important intangible cultural heritage. In the contemporary era of rapid economic development and increasingly prosperous exchanges between China and the west, the inheritance and promotion of national music has attracted unprecedented attention and become an important topic in the protection of intangible cultural heritage in China. Starting from the context of intangible cultural heritage, this paper analyzes the key points of inheritance and promotion of national music in the context of intangible cultural heritage, hoping to contribute to the protection of intangible cultural heritage in China.

'Tis Like They Never Left: Locating “Home” in the Music of Sliabh Aughty's Diaspora

2010 ◽  
Vol 4 (4) ◽  
pp. 491-507
Author(s):  
TIM COLLINS
Keyword(s):  
United States ◽  
Critical Role ◽  
Traditional Music ◽  
The United States ◽  
The West ◽  
Irish Music ◽  
Irish Traditional Music ◽  
West Of Ireland

AbstractThis article, which builds on research in the fields of Irish traditional music, place, and diaspora, focuses on a community of diasporic musicians from Sliabh Aughty, an upland region of approximately 250 square miles that encompasses the musical storehouses of east Clare and southeast Galway in the West of Ireland. It examines the importance of home for these musicians, who have been resident in the United States for many decades. Their personal music geographies are explored to ascertain how traditional Irish music plays a critical role in transcending their sense of dislocation and reconnecting them with “home.”

scholarly journals HIP HOP “BERASA” JAWA (PROSES PENCIPTAAN MUSIK HIP-HOP KM 7 YOGYAKARTA)

2019 ◽  
Vol 12 (1) ◽  
pp. 44-53
Author(s):  
Chandra Okta Abrianto
Keyword(s):  
Qualitative Research ◽  
Research Methods ◽  
Creative Process ◽  
Hip Hop ◽  
Traditional Music ◽  
Musical Structure ◽  
Musical Form ◽  
The West ◽  
Artistic Career ◽  
Textual Research

Boedi Pramono’s creativity as the creator of the Hip Hop KM 7 group is by combining Javanese traditional music with hip hop music. This paper reviews from the beginning of Boedi Pramono’s artistic career until the formation of Hip Hop KM 7. The problems that arise are (1) Revealing and explaining the formation and structure of Hip Hop KM 7’s music, (2) Explaining the creative process of Hip Hop KM 7’s music. To answer such problems, this research employs qualitative research methods by studying empiricism, trying to be able to express objectively which is more oriented towards the field of textual research, with the addition of Bambang Sunarto’s concept of the creative process in art. The creative process of art is the process of finding the constructive elements of art in regards with (1) the artist’s belief in creating the artwork, (2) the vocabulary and the artistic model, (3) the artistic concepts and (4) the artistic models, which are then used as means to create the artwork, thus answering the question. This article reveals that: firstly, the musical form presented by Hip Hop KM 7 is a digital-based music enriched with gamelan idioms and in general Javanese traditional music. Here, the musical structure is divided into two musical impressions, namely the West and the Traditional music. Secondly, Boedi Pramono with his musical creativity formed Hip Hop KM 7 from a thickly artistic environment and later included the traditional element and further the traditional dance to the hip hop music.Keywords: Hip-hop Jawa, Hip-hop Km 7, Hip hop Yogyakarta.

scholarly journals African Music and Human Experience in the 21st Century with Particular Reference to Nigeria

2019 ◽  
Vol 5 (02) ◽  
Author(s):  
Dr Sunday Nnamani
Keyword(s):  
21St Century ◽  
Central Africa ◽  
Traditional Music ◽  
Human Experience ◽  
The Other ◽  
Musical Experience ◽  
African Music ◽  
The West ◽  
Education Politics ◽  
West And Central Africa

Music in Africa portrays the totality of its cultural product. It cannot be separated from culture because in culture there is music and in music there is culture. This paper titled “African Music and Human experience in the 21st century with particular reference to Nigeria” examined the traditional music of the continent as it is passed down orally from one generation to the other, it looked at it on the basis of regions and later zeroed down to the West and Central Africa where Nigeria is located. The problems of development of musical experience which include, socio-economic and technological problems, disunity, lack of recognition, education, politics, etc were examined. Also the relevance of music to human experiences presently were looked into with a view to salvaging the dilapidating image of the study/ and research into pure African music highlighted. A list of crusaders and scholars of African music were also enumerated in order to encourage others to join

scholarly journals Spatial Pattern and Influencing Factors of Intangible Cultural Heritage of Music in Xiangxi, Central China

2022 ◽  
Author(s):  
xian yong zhang ◽  
hui xiang ◽  
Rui Liu
Keyword(s):  
Cultural Heritage ◽  
Traditional Music ◽  
Central China ◽  
Theoretical Research ◽  
Main Trend ◽  
Distribution Area ◽  
Intangible Cultural Heritage ◽  
The South ◽  
The West ◽  
Traditional Dance

Abstract Intangible cultural heritage of music (ICHM) is an important part of intangible cultural heritage (ICH), and research on ICHM has extremely important theoretical value and practical significance. In this study, we aimed to analyze the spatial distribution characteristics of ICHMs and explore the main factors affecting their distribution in Xiangxi, Central China. Methods such as the nearest neighbor index, kernel density estimation, and buffer analysis were used in this study. The main conclusions are as follows: 1) the numbers of traditional music, traditional dance, traditional drama and quyi are 33, 34, 30 and 14, respectively, indicating that quyi is relatively lacking in Xiangxi; 2) the distribution of ICHMs in Xiangxi have spatial heterogeneity, and the main trend is agglomeration. The national ICHMs, provincial ICHMs and municipal ICHMs are mainly concentrated in the south, the west, and the central and northern regions, respectively. The high-density areas of traditional music and traditional dance are located in the south, of traditional drama in the west, and of quyi in the north. 3) The distribution of ICHMs is affected by four factors: namely rivers, topography, GDP and transportation. The 0-3 km buffer zone of the rivers, with 100% of national ICHMs, 83.33% of provincial ICHMs and 84.52% of municipal ICHMs, is the centralized distribution area of ICHMs. 100% of the national ICHMs, 94.44% of the provincial ICHMs and 91.67% of the municipal ICHMs are distributed in hilly (200-500 m) and low mountain areas (500-1000 m). Highways have the greatest impact on the distribution of ICHMs, followed by railways and ordinary roads. The economy has a significant positive impact on ICHM programs; the more developed the economy, the more ICHM projects. The results of this study can provide useful references for the theoretical research and practice management of ICH.

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