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.

scholarly journals The Inheritance Form of Chinese Traditional Music under College Music Education System

2020 ◽  
Vol 1 (2) ◽  
pp. 6
Author(s):  
Jing Li
Keyword(s):  
Music Education ◽  
Education System ◽  
Traditional Music ◽  
Colleges And Universities ◽  
Point Of View ◽  
Education Quality ◽  
Music Culture ◽  
Chinese Music ◽  
College Music ◽  
The Common

In colleges and universities music education system, strengthen the inherit and carry forward the Chinese traditional music, from the point of view of the school, are beneficial to improve college music education quality and effectiveness, to help colleges and universities music education better and the combination of Chinese traditional music teaching, also help colleges and universities music education to fully absorb the cultural charm of Chinese traditional music and national music elements, enrich the college music education content and education resources, and further promote the college music education and the common development of the Chinese traditional music. From the perspective of students, inheriting traditional Chinese music in the music education system in colleges and universities is conducive to enhancing students' profound understanding of the theoretical knowledge of traditional Chinese music, enabling students to better feel the cultural charm and national connotation of traditional music, and solving the problem of disconnection that appeared in the process of students learning music with the development of traditional music culture.

LEGACY OF XIAO YOUMEI: PATHS TO EUROPEAN MUSIC

2020 ◽  
Vol 1 (2) ◽  
pp. 124-132
Author(s):  
Zhang Kewu ◽  
Keyword(s):  
Music Education ◽  
Educational Institutions ◽  
Asian Countries ◽  
Music Culture ◽  
Xxth Century ◽  
Cross Cultural Communication ◽  
Chinese Music ◽  
History Of ◽  
Definition Of ◽  
Scientific Platform

The relevance of this topic is linked to the need to understand the way in which Asian countries develop theoretical musicology in active cross-cultural communication. This work examines Xiao Youmei (1884–1940), one of the most outstanding representatives of Chinese music culture in the first half of the XXth century. His contribution to Chinese music education and science include the organization of the Shanghai Conservatory of Music (1927), the upgrading of national musicology and the development of the first textbooks on music theory and history for training specialists. Of particular importance is Xiao Youmei's educational activities, related to the study of European music and the definition of the main directions in its research. The article mainly discusses the methods used by the Chinese musicologist in introducing European music to the students of the first music educational institutions in China. Theoretical and historical problems of European music are taught in Xiao Youmei’s textbooks: "Essays on the History of Western Music" (1920–1923), "General Musicology" (1928), "Harmony" (1932). They were distinguished by the following features: an overview principle of the presentation of the material, an expansion of the range of languages used by the term authors, several musical examples and a lack of scientific resources, which is explained by the stage of origin of the music educational system and scientific platform in China in the first decades of the XXth century. One of the main features of the content expressed in Xiao Youmei's textbooks is the correlation between various parameters of Chinese and European music. The paper provides examples illustrating the method of using the notions of one thinking system to explain the other (in the field of harmony, instrumental science). It is explained by the transitional stage in the formation of Chinese musicology — from the old system of notation to the new one.

An Analytical Study of the Folk Musical Instruments of Meghalaya

2021 ◽  
Vol 66 (1) ◽  
pp. 23-38
Author(s):  
Joyanta Sarkar ◽  
Anil Rai
Keyword(s):  
20Th Century ◽  
Folk Music ◽  
Analytical Study ◽  
Musical Instrument ◽  
Folk Songs ◽  
Musical Instruments ◽  
Indian State ◽  
Material Benefits ◽  
Local Materials ◽  
Over Time

"Meghalaya is a richly inhabited Indian state. Drums, flutes of bamboo and hand-held small cymbals are a common ensemble. The advent of Christianity in the middle of the 20th century marked the start of a decline in tribal popular music. Over time, Meghalaya’s music scene has evolved, attracting many talented artists and bands from both traditional and not-so traditional genres. Any of the most recent Meghalaya musicians and bands is: The Plague Throat, Kerios Wahlang, Cryptographik Street Poets, etc., Soulmate, Lou Majaw, and Snow White. Meghalaya’s music is characterised by traditional instruments and folk songs. The Musical Instruments of Meghalaya are made from local materials. Meghalayan people honour powerful natural forces and aim to pacify animistic spirits and local gods. The instruments are made of bamboo, flesh, wood, and animal horn. Any one of these musical instruments is considered to have the ability to offer material benefits. The Meghalaya musical instrument is an essential part of traditional folk music in the region. In this article, we offer an overview of the folk musical instruments of Meghalaya. Keywords: Idiophone, Aerophone, Chordophone, Membranophone, Trumpet. "

Effects of Chinese popular music familiarity on preference for traditional Chinese music: Research and applications

2019 ◽  
Vol 3 (2) ◽  
pp. 329-358 ◽  
Author(s):  
Yunshu Tan ◽  
Lauren Conti
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Undergraduate Students ◽  
Teaching And Learning ◽  
Traditional Music ◽  
World Music ◽  
Chinese Music ◽  
Short Term Exposure ◽  
Post Test ◽  
Music Research

Teaching and learning popular music and world musics are prominent topics in music education but often play a supplement role in the classroom. The main purpose of this quantitative experimental study was to investigate the effects of Chinese popular music on students’ familiarity and preference for its traditional version. Participants were undergraduate students from a university in the northeastern United States who completed a pre-test, minimum four weekly treatments and post-test. Results suggest participation in a world music course may contribute to preference for Chinese traditional music, but short-term exposure to popular versions of Chinese traditional music does not seem to contribute to preference for Chinese traditional music. A reason for this may be that popular music has its own cultures and characteristics that are not necessarily transferable to music from other music genres. In addition, the personality traits of open-mindedness or closed-mindedness showed significant influence over preference for traditional or popular music, respectively.

Gaming Musical Instruments

2019 ◽  
Vol 5 (2) ◽  
pp. 121-130
Author(s):  
Jan Torge Claussen
Keyword(s):  
Music Education ◽  
Video Game ◽  
Traditional Music ◽  
Musical Instrument ◽  
Game Studies ◽  
Sight Reading ◽  
Specific Context ◽  
Video Recordings ◽  
And Performance ◽  
The Relationship

Abstract This article addresses the relationship between labour and learning a popular musical instrument like the guitar in the specific context of a video game. Most gamification theories promise that using a video game makes it easy to learn (Kapp 2012; Deterding et al. 2011). Even if this holds true, I argue that this kind of playfulness causes some backlash, which I observed during an experiment in which students played the music video game Rocksmith 2014. Learning and playing the guitar through the medium of a video game comes with diverse experiences as well as expectations that are closely related to the dichotomies between play and work, often discussed in game studies based on the famous texts by Johann Huizinga (2004) and Roger Caillois (1960). Learning any traditional music instrument requires much effort in several skill areas, for example, dexterity, hearing, sight-reading, and performance. In other words, it seems to be hard work and not at all playful like a video game. In this article, the various aspects of playful work and labourious play, found in both music education and guitar games, will be discussed against the backdrop of empirical findings including data from online interviews, research diaries and video recordings.

The Impact of Technologies on Society, Schools, and Music Learning

2017 ◽  
pp. 276-290
Author(s):  
Valerie Peters
Keyword(s):  
Music Education ◽  
New Technology ◽  
Traditional Music ◽  
First Century ◽  
Music Culture ◽  
Professional Musicians ◽  
Rock Band ◽  
Music Making ◽  
And Performance ◽  
The Impact

This chapter examines how music education can benefit from the use of new electronic tools and materials for music making that allow learners to combine their interests and prior understandings toward deepening their engagement in music. By exploring how rhythmic video games like Rock Band bridge the large chasm that exists between youths’ music culture and traditional music education; how inexpensive recording hardware and software such as Audacity and GarageBand have provided youth with opportunities to compose and perform as only professional musicians could in the past; and how software like Impromptu successfully engages youth in music composition and analysis by enabling users to create and remix tunes using virtual blocks that contain portions of melodies and rhythmic patterns, this chapter argues that twenty-first-century music education, with the help of new technology, has the potential for engaging greater numbers of young learners in authentic music making and performance.

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 Learning Media Applications and Introduction of Javanese Gamelan Musical Instruments Based on Android

2021 ◽  
Vol 1 (2) ◽  
Author(s):  
Muchammad Sofyan Ariefbillah ◽  
Cindy Taurusta
Keyword(s):  
Health Sector ◽  
Problem Formulation ◽  
Traditional Music ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Survey Method ◽  
The Times ◽  
Media Applications ◽  
Education Business

The role of technology, especially information technology, is very helpful in people's lives, from the aspects of education, business, to the health sector. In this day and age, many modern musical instruments have begun to shift the existence of traditional music, especially this typical Javanese musical instrument, namely Gamelan. With the development of the times, the public's interest in this traditional Gamelan instrument is decreasing. So that this application has a problem formulation, namely how to design and create an android application that concerns the introduction and learning of various types of gamelan musical instruments. This study aims to produce an application for the introduction of an Android-based gamelan instrument that can be used by all groups to be more familiar with and interested in learning and preserving gamelan instruments. This research was conducted with a survey method to obtain data or opinions to test this application. Based on the research that has been done, a conclusion can be drawn with this research which results in an application that can help and make it easier for people to know the various types of Javanese gamelan.

scholarly journals JURNAL INGGRIS ANGKLUNG TRAINING FOR PAUD TEACHERS

Empowerment ◽  
2019 ◽  
Vol 8 (1) ◽  
pp. 30
Author(s):  
Sulastri Sulastri
Keyword(s):  
Early Childhood ◽  
Data Collection ◽  
Professional Competence ◽  
Traditional Music ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Early Age ◽  
West Java ◽  
Childhood Education ◽  
Qualitative Descriptive

West Java is the area that is rich in traditional music, one of them is angklung, which is a musical instrument made of bamboo and played by shaking . As one of the traditional musical instruments, angklung as musical instrument should be maintained by the community so that it can still be heard and played and even preserved to the next generation. One effort to appreciate and preserve angklung traditional music, IGTKI (Bandung Kindergarten Teachers Association) held a Training to improve the professional competence of early childhood education teachers as a target audience in mastering traditional angklung music to be able to transfer knowledge to children early age in PAUD. The purpose of this study  analyzed the implementation of angklung extracurricular learning in PAUD in Bandung as a vehicle for the preservation of traditional music in West Java. This study uses qualitative descriptive as the method. Data collection techniques used were observation, interviews, and documentation. By preserving angklung traditional music, it is hoped that angklung music will remain a cultural heritage of West Java without fear of being seized by other countries.Keywords; Training, Education Teachers, PAUD, Angklung

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