scholarly journals Transmission and Innovation of Kasidah (Lagu Islam) in Indonesian (1975~) Take a Case Study on Nasida Ria Kasidah Modern in Semarang

2017 ◽  
Vol 4 (1) ◽  
pp. 49
Author(s):  
Ning-Hui Hung
Keyword(s):  
Musical Performance ◽  
Structural Development ◽  
Musical Structure ◽  
Cultural Changes ◽  
External Stimulation ◽  
Musical Structures ◽  
Social Structural ◽  
Musical Function

Indonesian Islamic music has its own performance occasion, musical function, music characteristic, and the style of musical performance. It has lyrics that represent direct relationship between Moslems and God in religion ceremonies. However, the musical structures are changed due to external stimulation coming along with the changes of Indonesian social structure during its development especially in 1975. Kasidah, a sort of Indonesian Islamic music, is the best exemplification to manifest the interaction between social development and music cultural changes, peculiarly performed by the music group of Qasidah Modern Nasida Ria in Semarang, Indonesia. The reason is that kasidah is more liberal than other Islamic music genres in Indonesia, especially on musical performance, usage on instruments, etc. This research sees “music” as a communication system of sound which passes through social usage and cultural contexts in Ethnomusicological perspective. The focus of discussion in on this group to explore some topics in order to comprehend the interaction between social structural development and the innovation of kasidah musical structure in Indonesia, such as the transmission and development of the group Qasidah Modern Nasida Ria, innovation of the group Qasidah Modern Nasida Ria and its music, and the musical function of modern kasidah. By which to understand the current development of kasidah in Indonesia, explore the concept and the role of the word „modern‟ plays in the development of modern kasidah, and point out the cultural syncretism and impact occured in the development of modern kasidah.

scholarly journals PERUBAHAN PERAN PEMUKA ADAT PUNYIMBANG PADA MASYARAKAT ADAT PEPADUN

SOSIETAS ◽  
2016 ◽  
Vol 6 (2) ◽  
Author(s):  
Saras Sarita ◽  
Siti Nurbayani
Keyword(s):  
Indigenous Peoples ◽  
Cultural Changes ◽  
Public Response ◽  
The Public ◽  
The People ◽  
The Social ◽  
Changing Role ◽  
The Village

This study is about the changing role of traditional leaders called punyimbang in pepadun community. This research was conducted in the village of Terbanggi Besar, Terbanggi Besar District of Central Lampung regency. This research was motivated by the social and cultural changes taking place in society. The research is a qualitative research method of case study that compares difference conditions punyimbang role ago and today. The results of this study are firstly the social and cultural changes that occurred in the community so that the role punyimbang the first switch and always involved in every aspect of community life is starting at left, second, the factors that cause changes in this role is the modernization that began touching indigenous peoples pepadun village Terbanggi great so that people began to leave things that are traditional, third, these changes have an impact on the conflict in the community, due to the people lost figure punyimbang that exemplifies the good things that people are starting to do a lot of irregularities such as conflict between villages, spoliation, and the conflict between generations, fourth, related to the changing role of public response punyimbang happens is people still assume the existence punyimbang needed as long as there customary held by the public but does not bind as before.

The Romanesca as a Spiritual Sign in the Operas of Haydn, Mozart, and Beethoven

2020 ◽  
pp. 163-192
Author(s):  
Olga Sánchez-Kisielewska
Keyword(s):  
Eighteenth Century ◽  
Final Section ◽  
Musical Structure ◽  
Spiritual Dimension ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
The Relationship

This chapter explores the role of a musical pattern, the Romanesca schema, as a signifier of spiritual meanings in opera. It addresses the relationship between the Romanesca and the hymn topic and argues that the schema, semantically empty in its origins, acquired in the late eighteenth century connotations of ceremony, solemnity, alterity, and even transcendence. Several vignettes from operas by Haydn and Mozart illustrate how composers deployed the pattern in scenes depicting worship, prayers, and ritual actions. Beethoven’s Fidelio occupies the final section, a case study that shows the Romanesca interacting with other elements of the musical structure for expressive purposes. The chapter provides a novel interpretation of certain moments of the opera, suggesting that Beethoven relied on the sacred implications of the Romanesca—arguably available to historical listeners—to intensify the spiritual dimension of the drama.

Ensemble by Seven Musical Performance Robots

2001 ◽  
Vol 13 (1) ◽  
pp. 50-55 ◽  
Author(s):  
Tadahiro Kaneda ◽  
◽  
Shoichiro Fujisawa ◽  
Takeo Yoshida ◽  
Yasumasa Yoshitani ◽  
...  
Keyword(s):  
Autonomous Robots ◽  
Fourth Grade ◽  
Musical Performance ◽  
Control Engineering ◽  
College Of Technology ◽  
Systems And Control ◽  
The Subject ◽  
And Control

The purpose of the Department of Systems and Control Engineering at Osaka Prefectural College of Technology is to train students who can construct synthetic systems. To achieve this purpose, we have had a case study on robotics in fourth grade since 1994. The contents of the subject are to design and make autonomous robots. The subject has a contest with different themes each year. The theme for 1998 was ""Musical Performance Robots"". This was to make seven robots and to form an ensemble. In this paper, we evaluated the case study on robotics, the role of Amusement Robot to ""Educatement"". The comparison about the sound between human playing and robot playing was conducted.

Would Caccini approve?

Early Music ◽  
2008 ◽  
Vol 36 (1) ◽  
pp. 81-94
Author(s):  
John Bass
Keyword(s):  
Real World ◽  
17Th Century ◽  
Musical Performance ◽  
British Library ◽  
Musical Structure ◽  
Poetic Structure ◽  
Musical Patterns

Abstract Although it is known that improvisation was an important part of musical performance in the 16th and 17th centuries, studying how extemporaneous elements were incorporated into real-world situations has proven to be difficult. Improvisers, by nature, do not record what they do, but there is evidence that points to some of these individuals attempting to document their approach to music, namely in ornamentation manuals and individual pieces with written-out embellishment. Among these sources is British Library Ms. Egerton 2971, a 37-folio volume probably dating from the second or third decade of the 17th century, which contains, among other things, embellished versions of Giulio Caccini’s Amarilli, mia bella and Dolcissimo sospiro, first published in Le nuove musiche (Florence, 1602). Sources like this, despite some inherent problems, offer the clearest window into the minds of improvisers of the time, and warrant further study. The research in this article serves two purposes. First, the versions of Amarilli, mia bella and Dolcissimo sospiro contained in Egerton 2971 will be examined and compared to those published in Le nuove musiche as a case study of early 17th-century improvisation. Second, because of Caccini’s open disdain for singers taking liberties with his compositions, an attempt will be made to see if these pieces might be examples of such treatments. The crux of the article aims to show that ornamentation of the time, at least as shown in these examples, was not a random act of substituting stereotyped musical patterns for given intervals, but instead points to a more robust idea of improvisatory thought. Rather than looking at individual ornaments or how specific musical gestures might have painted certain words, the overall structure of the ornamentation is examined to show that it is subject to deeper and subtler intellectual considerations of poetic structure, overall musical structure, and rhetoric.

The role of multiplicity in a cult: A case study

1987 ◽  
Author(s):  
William A. Worrall ◽  
Ann W. Stockman

Endangered Butterflies and their Non-Native Host Plants: Examining Shifting Values of Belonging in Restoration

2019 ◽  
Vol 3 (1) ◽  
pp. 1-9
Author(s):  
Robert M. Anderson ◽  
Amy M. Lambert
Keyword(s):  
Ecological Restoration ◽  
Native Species ◽  
Puget Sound ◽  
A Value ◽  
The Social ◽  
Remote Island ◽  
Scientific Truth ◽  
Native Host

The island marble butterfly (Euchloe ausonides insulanus), thought to be extinct throughout the 20th century until re-discovered on a single remote island in Puget Sound in 1998, has become the focus of a concerted protection effort to prevent its extinction. However, efforts to “restore” island marble habitat conflict with efforts to “restore” the prairie ecosystem where it lives, because of the butterfly’s use of a non-native “weedy” host plant. Through a case study of the island marble project, we examine the practice of ecological restoration as the enactment of particular norms that define which species are understood to belong in the place being restored. We contextualize this case study within ongoing debates over the value of “native” species, indicative of deep-seated uncertainties and anxieties about the role of human intervention to alter or manage landscapes and ecosystems, in the time commonly described as the “Anthropocene.” We interpret the question of “what plants and animals belong in a particular place?” as not a question of scientific truth, but a value-laden construct of environmental management in practice, and we argue for deeper reflexivity on the part of environmental scientists and managers about the social values that inform ecological restoration.

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