scholarly journals Nunggak semi Al Suwardi: organology and perspective of harmonic planet music creation

2021 ◽  
Vol 3 (1) ◽  
pp. 22-32
Author(s):  
Aton Rustandi Mulyana ◽  
Joko Suranto
Keyword(s):  
Musical Instruments ◽  
World Music ◽  
Music Festivals ◽  
Creation Process ◽  
Musical Compositions ◽  
The Creation ◽  
Musical Ensembles ◽  
Materials Used ◽  
The Many ◽  
Music Tradition

This article examines the artistry of a composer named Aloysius Suwardi. This composer, who grew up in the Javanese gamelan music tradition, has produced musical compositions and created musical instruments as a means/medium to express it on the journey of his creativity. His works have been staged in various forums or world music festivals. The musical instruments he has created fill the laboratory spaces to create his musical compositions. Two musical ensembles that have been created are Gamelan Genta and Gamelan Planet Harmonic. These two musical instruments complement the many personal musical instruments he has created, such as the vibrander, tering, gerendang, and other musical instruments. Regarding the two ensembles, this article examines the aspects of the creation process. For example, how did Al Suwardi choose the materials used, how to make them, to how he determined the barrel system for these tools. In terms of compositing, this article examines how Al Suwardi started his work, his models of creation, and how he composes his works until they are declared final. The gragas and dridis creeds and Nunggak Semi's concept are the main topics in this composition creation model. Both creeds and concepts have ushered in the landscape of making Al Suwardi's musical compositions expand, from the gamelan tradition to more contemporary models of music creation

How To Write A Narration

2019 ◽  
Vol 7 (4) ◽  
pp. 43-49
Author(s):  
Katyaa Nakova-Tahchieva
Keyword(s):  
Research Paper ◽  
Fifth Grade ◽  
Artistic Creation ◽  
Creation Process ◽  
Literature Education ◽  
The Creation ◽  
Education Process

The present work is part of a research paper for which I extend my heartfelt thanks to Assoc. Prof. Dr. Valko Kanev. It examines some specifics of the artistic creation process that lead to the creation of one of the types of written student texts - the narration. Its variations - "narration by imagination" and "narration by set supports" are regulated in the new fifth grade curriculum. The requirements for writing a narration and the exemplary thematic curriculum of optional literature classes in the 7-tgrade have proven to be applicable in the literature education process.

REREADING TEXTS OF MUSIC AND DANCE IN THE HEBREW BIBLE: THE SPIRITUALITY OF MUSIC AND DANCE IN ZIMBABWE

2017 ◽  
Vol 25 (1) ◽  
pp. 72-98
Author(s):  
Temba T. Rugwiji
Keyword(s):  
Hebrew Bible ◽  
Land Reform ◽  
Critical Role ◽  
Musical Instruments ◽  
World Music ◽  
Human Existence ◽  
Biblical Text ◽  
Ancient Israel ◽  
Formed Part ◽  
The Church

The Hebrew Bible depicts that music and dance formed part of worship and reverence of Yahweh in which various musical instruments were played during ancient biblical times. In the modern post-biblical world, music and dance characterise every context of human existence either in moments of love, joy, celebration, victory, sorrow or reverence. In Zimbabwe, music — which is usually accompanied by dance — serves various purposes such as solidarity towards or remonstration against the land reform, despondency against corruption, celebration, giving hope to the sick, worship as in the church or appeasing the dead by those who are culturally-entrenched. Two fundamental questions need to be answered in this article: 1) What was the significance of music and dance in ancient Israel? 2) What is the significance of music and dance in Zimbabwe? In response to the above questions, this essay engages into dialogue the following three contestations. First, texts of music, musical instruments and dance in the Hebrew Bible are discussed in view of their spiritual significance in ancient Israel. Second, this study analyses music and dance from a faith perspective because it appears for the majority of Gospel musicians the biblical text plays a critical role in composing their songs. Third, this article examines music and dance in view of the spirituality which derives from various genres by Zimbabwean musicians in general. In its entirety, this article attempts to show that the Zimbabwean society draws some spirituality from music and dance when devastated by political, cultural or socio-economic crises.

Medieval Combat in Colour: Hans Talhoffer’s Illustrated Manual of Swordfighting and Close-Quarter Combat from 1467, ed. and introduced by Dierk Hagedorn. Barnsley, S. Yorkshire: Greenhill Books, 2018, 319 pp., ill.

Mediaevistik ◽  
2020 ◽  
Vol 32 (1) ◽  
pp. 548-549
Author(s):  
Albrecht Classen
Keyword(s):  
Middle Ages ◽  
Late Middle Ages ◽  
The Creation ◽  
Close Quarter ◽  
The Many

The late Middle Ages witnessed the creation of numerous fencing books, mostly in Germany, illustrating the many different techniques, weapons, styles, strategies, and the movements, as Patrick Leiske discussed only recently in his Höfisches Spiel und tödlicher Ernst (2018; see my review here in vol. 32). Some of the true masters and teachers of this sport and fighting technique were Johannes Liechtenauer, Peter von Danzig, Sigmund Ringeck, and Hans Talhoffer, whom Leiske also discusses in a separate chapter.

Mandelstam: The Realm of Unexpectedness

2021 ◽  
Vol 64 (2) ◽  
pp. 62-83
Author(s):  
Svetlana S. Neretina
Keyword(s):  
Middle Ages ◽  
Speech Act ◽  
Classical Antiquity ◽  
Logical Framework ◽  
Creation Process ◽  
The Real ◽  
Logical Construction ◽  
The World ◽  
The Creation ◽  
The Middle Ages

In the essay “Conversation about Dante,” Mandelstam described logic, which he defined as the “realm of unexpectedness,” which is unlike any everyday logical construction. Based on the analysis of Mandelstam’s text, it is assumed that we are talking about a tropology that arose in the Middle Ages, the principles of which can be derived from studies of St. Augustine’s treatise De Dialectica and Petrus Сomestor’s Historia Scholastica. It is this triple commonwealth (Augustine – Comestor – Dante, read by Mandelstam) that creates the multilayered logical framework of the work. Augustine created a completely different dialectic than in classical antiquity. Augustine considers dialectics as an art of discussion and describes the real steps that contribute to the emergence of speech, which corresponds to Mandelstam’s concept of conversation. According to Augustine, at the basis of any speech, is a trope-turn. In the article, attention is drawn to the sound nature of creation process. This logic, used in explaining the creation of the world according to the logos/word (tropology), assumes that, at the basis of the speech act, there is no the word as a unit of speech, but the sound itself – the sound, which was considered initially equivocal (ambiguous). In the process of pronounciation, the sound could turn into its opposite and could change the meaning of speech if the context has been changed. Dante expressed the meaning of tropology in practice. Mandelstam wrote that he had chosen Dante for the conversation (between poet and poet) “because he is the greatest and indisputable master of reversible and reversing poetic substance.” Mandelstam saw Dante as the Descartes of metaphor.

scholarly journals A Vigorous Affirmation of Life: Slaves in the Face of Dehumanization

Elements ◽  
2015 ◽  
Vol 11 (1) ◽  
Author(s):  
Danielle Nista
Keyword(s):  
Nineteenth Century ◽  
American South ◽  
Musical Instruments ◽  
Power Struggle ◽  
True Nature ◽  
Chattel Slavery ◽  
Affirmation Of Life ◽  
The Face ◽  
The Creation ◽  
The American South

For a slave living under the system of chattel slavery in the American South during the nineteenth century, avenues of self-expression were extremely limited. One of the few ways slaves could exert control over their own lives was through singing and dancing. These arts gave slaves a chance to relieve stress and establish a culture through the creation of musical instruments, songs, and dances. All of these contained hints at the true nature of slaves’ feelings towards the system that oppressed them, feelings that they had to frequently repress. However, despite slaves’ efforts to make this culture entirely their own, masters tried to find ways to use it to their advantage instead of to the slaves’ benefit. The resulting covert power struggle sometimes ended in favor of the masters, taking the form of regulations on slaves’ dances, requirement of the performance of songs and dances for the masters’ entertainment, and even abuse of slaves by using their own arts. Ultimately, however, slaves emerged victorious because of the hidden messages in their songs and dances. Though this method of coping could not erase all the masters did, it was at least one glimmer of hope.

Direct imaging of direction-controlled molecular rotational wave packets created by a polarization-skewed double-pulse

2020 ◽  
Vol 22 (19) ◽  
pp. 10853-10862
Author(s):  
Kenta Mizuse ◽  
Naoya Sakamoto ◽  
Romu Fujimoto ◽  
Yasuhiro Ohshima
Keyword(s):  
High Resolution ◽  
Wave Packets ◽  
Double Pulse ◽  
Direct Imaging ◽  
Creation Process ◽  
Rotational Wave ◽  
The Creation

High-resolution molecular movies of direction-controlled rotational wave packets are reported, providing insights into the creation process and detailed dynamics of wave packets.

Olympism, physical education and critical pedagogy

2018 ◽  
Vol 25 (3) ◽  
pp. 847-858 ◽  
Author(s):  
Ian Culpan
Keyword(s):  
Physical Education ◽  
Critical Pedagogy ◽  
Decision Makers ◽  
Physical Educators ◽  
Next Generation ◽  
Critical Orientation ◽  
The Creation ◽  
The Many

This article sets out to present a new imagery for capturing the power and potential of Olympism in attempting to educate the next generation of sport consumers and decision makers. It is hoped that the new imagery can make a contribution on how to moderate and regulate the rampant commodification of sport. This new imagery begins with the need for physical educators to open their minds and instigate a critical orientation to thinking about sport and Olympic matters. It is argued that doing this might help in the creation of new possibilities and visions for Olympism and sport and allow us to confront some of the disagreeable contemporary concerns in sport that scholars have identified. The new imagery for Olympism is based on the development of a critical pedagogy that draws on the works of Apple, Freire and Kincheloe, and is re-contextualised for school physical education and sports programmes. It is concluded that decisions, behaviours and actions that are made at present actually propagate many of the policies that will be made tomorrow. It is argued that a critical pedagogy for Olympism is needed to address the many current disagreeable aspects of sport.

scholarly journals Musification of Seismic Data

2016 ◽  
Author(s):  
Ryan McGee ◽  
David Rogers
Keyword(s):  
Wave Equation ◽  
New Media ◽  
Seismic Data ◽  
Seismic Events ◽  
Digital Audio ◽  
The Public ◽  
General Wave ◽  
Musical Compositions ◽  
The Creation ◽  
Earth's Crust

Seismic events are physical vibrations induced in the earth’s crust which follow the general wave equation, making seismic data naturally conducive to audification. Simply increasing the playback rates of seismic recordings and rescaling the amplitude values to match those of digital audio samples (straight audification) can produce eerily realistic door slamming and explosion sounds. While others have produced a plethora of sucha udifications for international seismic events (i.e. earthquakes), the resulting sounds, while distinct to the trained auditory scientist, often lack enough variety to produce multiple instrumental timbres for the creation of engaging music for the public. This paper discusses approaches of sonification processing towards eventual musification of seismic data, beginning with straight audification and resulting in several musical compositions and new-media installations containing a variety of seismically derived timbres.

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