scholarly journals KREATIVITAS RAHAYU SUPANGGAH PADA FILM OPERA JAWA KARYA GARIN NUGROHO

2020 ◽  
Vol 12 (2) ◽  
pp. 158-169
Author(s):  
Muhammad Nur Salim
Keyword(s):  
Creative Process ◽  
Film Music ◽  
Traditional Music ◽  
Musical Work ◽  
Conceptual Approach ◽  
Film Genre ◽  
Musical Genre ◽  
Musical Concepts ◽  
Genre Films ◽  
Genre Film

ABSTRACT One of the developments in film in Indonesia is the musical genre film. This genre film experienced a post-reform high point when Sherina's Adventure Film came. This point then became the beginning of the development of musical genre films that were born in the 2000s period. One of the interesting musical films is the Javanese Opera Film by Garin Nugroho. Opera Jawa is interesting because first, Opera Jawa has received various awards and nominations at both national and international levels. Second, because this film bases its musical work on Javanese gamelan or gamelan media. This second reason is the focus of this research. The research "Rahayu Suanggah's Creativity in Garin Nugroho's Javanese Opera Film" is an attempt to reveal one of the film music creation methodologies based on her creative process with Javanese karawitan media (gamelan music). The musical concepts of the musical that were carried by Rahayu Supanggah as the music director was revealed through Rahayu Supanggah's conceptual approach in Bothekan Karawitan Garap's book (2007). The results of this study; Rahayu Supanggah uses Javanese musical nuances in composing Javanese Opera music by involving songs that are composed in various variations such as; 1) single tembang, 2) pathetan, 3) nothing, 4) palaran, and 5) arrangement of traditional pieces while the illustration music consists of 1) New Composition, 2) Illustration of Traditional Music, 3) Exploration Music. Keywords: Creativity, Music, Javanese Opera, Rahayu Supanggah  ABSTRAK Perkembangan film di Indonesia salah satunya pernah diwarnai oleh film genre musikal. Film genre ini mengalami titik puncak pasca reformasi ketika Film Petualangan Sherina hadir. Titik tersebut kemudian menjadi awal perkembangan film genre musikal yang lahir pada periode tahun 2000-an. Salah satu film musikal yang menarik adalah Film Opera Jawa karya Garin Nugroho. Opera Jawa menarik karena pertama, Opera Jawa mendapatkan berbagai penghargaan dan nominasi tingkat nasional maupun internasional. Kedua, karena film ini mendasarkan garapan musikalnya dengan media gamelan Jawa atau karawitan. Alasan kedua inilah yang menjadi fokus pada penelitian ini.Penelitian “Kreativitas Rahayu Suanggah dalam Film Opera Jawa Karya Garin Nugroho” merupakan upaya mengungkap salah satu metodologi penciptaan musik film yang mendasarkan proses kreatifnya dengan media karawitan Jawa (musik gamelan). Konsep-konsep musikal karawitan yang diusung Rahayu Supanggah sebagai music director diungkap melalui pendekatan konsep garap-nya Rahayu Supanggah dalam buku Bothekan Karawitan Garap (2007). Hasil penelitian ini; Rahayu Supanggah menggunakan nuansa karawitan Jawa dalam menggarap musik Opera Jawa dengan melibatkan tembang yang digarap dalam berbagai variasi seperti; 1) tembang tunggal, 2) pathetan, 3) ada-ada, 4) palaran dan 5) aransemen gendhing tradisi sedangkan musik ilustrasi terdiri dari 1) Komposisi Baru, 2) Ilustrasi Gending Tradisi, 3) Musik Eksplorasi.Kata Kunci: Kreativitas, Musik, Opera Jawa, Rahayu Supanggah

Popular Music and Genre in Mainstream Nollywood

2018 ◽  
Vol 30 (3) ◽  
pp. 99-114 ◽  
Author(s):  
Emaeyak Peter Sylvanus
Keyword(s):  
Popular Music ◽  
Film Music ◽  
Film Genre ◽  
Music Practice ◽  
Music Genre ◽  
Film Genres ◽  
Genre Film

This article examines how genres of Nollywood soundtrack, which draw mainly from Nigerian popular music, effectively give Nollywood film genres their unique identification. This music genre–film genre association not only sets Nollywood apart from other cinema traditions, but also confers a marginal genre identity on its film music. The approach of this study is primarily ethnographic: pooling and teasing out inferences from the local discourse on film music practice, which the experiential evidence from forty classic Nollywood film samples support. The outcome shows that popular music is and can be a critical tool for distinguishing among film genres.

Following Gesture Following: Grounding the Documentation of a Multi-Agent Music Creation Process

2012 ◽  
Vol 36 (4) ◽  
pp. 59-80 ◽  
Author(s):  
Guillaume Boutard ◽  
Catherine Guastavino
Keyword(s):  
Conceptual Framework ◽  
Creative Process ◽  
Relevant Information ◽  
Musical Work ◽  
Levels Of Abstraction ◽  
Musical Works ◽  
Multi Agent ◽  
Ethnographic Data ◽  
Different Levels ◽  
Do So

The documentation of electroacoustic and mixed musical works typically relies on a posteriori data collection. In this article, we argue that the preservation of musical works having technological components should be grounded in a thorough documentation of the creative process that accounts for both human and nonhuman agents of creation. The present research aims at providing a ground for documentation policies that account for the creative process and provide relevant information for performance, migration, and analysis. To do so, we analyzed secondary ethnographic data from a two-year creation and production process of a musical work having a focus on gesture following. Using grounded theory, we developed a conceptual framework with different levels of abstraction and consequent levels of transferability to other creative contexts. Finally, we propose several paths for grounding a subsequent documentation framework in this conceptual framework.

The Hollywood Genre System

2017 ◽  
Author(s):  
Todd Berliner
Keyword(s):  
Star Wars ◽  
Mass Audience ◽  
System P ◽  
Aesthetic Properties ◽  
Cognitive Challenge ◽  
Optimal Area ◽  
Genre Films ◽  
Genre Film

Hollywood makes quintessential genre films, and chapter 10 tackles the aesthetics of genre filmmaking. It demonstrates the ways in which genre eases viewers’ grasp of narrative information and offers the pleasure of returning, as experts, to familiar scenarios. The chapter also explains the ways in which genres develop novel and complex aesthetic properties that counter a culture’s growing genre expertise. To fully exploit the pleasures of genre filmmaking for a mass audience, a genre film must fit recognizably within its genre, offering easy recognition, but it must also differ enough from previous films to make it moderately challenging for average spectators. Star Wars offers an exemplary instance of Hollywood genre filmmaking: The 1977 blockbuster found the optimal area between unity and complexity, familiarity and novelty, easy recognition and cognitive challenge for a mass audience.

scholarly journals Integrating Score, Performance, and Medium in the work-concept: The HypeSax as a Case Study

2021 ◽  
Author(s):  
Cristohper Ramos Flores
Keyword(s):  
Creative Process ◽  
New Technologies ◽  
Close Relation ◽  
Music Technology ◽  
First Century ◽  
Musical Work ◽  
Technology Project ◽  
New Instrument ◽  
Work Concept

<p><b>This thesis presents a novel music-technology project, the HypeSax, which affords new roles to the saxophone and enhances its sound capacities. This document presents a discussion of the musical ideas and design criteria behind the development of this new instrument, addressing issues of embodiment that arise from the use of new technologies, and of what this new medium means in the discussion of the ontology of the musical work. This project is intended to research the medium through a case study, in which the medium becomes the central focus of my compositional decisions.</b></p> <p>As part of this project, a body of new musical works, associated with the HypeSax, was created. These compositions and the creative process from which they originated are analysed in relation to the HypeSax, questioning if the musical work is limited to the composition or if other processes such as the development of the medium, which in this case is the HypeSax, can be considered part of its ontology.</p> <p>The desire to understand and define the ontology of the musical work has led musicians, musicologists and philosophers to formulate multiple propositions that observe perspectives of creation and reception, as well as different ways in which these interact. This thesis proposes the integration of a new element in the conversation of the work-concept: the medium. The argument presented is that, in light of compositional practices in the twenty-first century, the creative work begins when musicians design instruments, software, audio setups, and other new technologies, actively transforming the medium through which their work works are created. Despite the fact that the medium has always been in close relation with the composition, performance and reception of the work, it has not been considered an element in the ontology of the work. Nevertheless, it becomes impossible to ignore the importance of the medium as new technologies facilitate its manipulation as a part of the creative process. </p> <p>New works featuring the HypeSax are discussed, as well as how this novel medium provides the affordances and possibilities that allow the creation of said works. This case study serves to demonstrate the importance of the medium in the context of a new tripartite model of the work-concept where score, performance and medium are integrated, in a non-hierarchical structure, as one inseparable reality of music.</p>

All That Jazz: The Diegetic Soundtrack in Melodrama

2016 ◽  
Author(s):  
Heidi Wilkins
Keyword(s):  
Semantic Information ◽  
Film Music ◽  
Film Genre ◽  
Female Protagonists ◽  
The World ◽  
The 1950S ◽  
Film Texts ◽  
Creating Meaning ◽  
Emotional Capacity ◽  
Women's Films

As modern film audiences, we are well aware of the capacity of music soundtracks to perform a multitude of functions in film. Music, whether diegetic (a part of the world of the film) or non-diegetic (outside of the world of the film), has the capacity to create emotion or humour; to be narrative or symbolic; to create atmosphere or provide information about a setting; and in its various forms, music is integral in creating meaning about film characters. This chapter looks at the use of music in melodramas of the 1940s and the 1950s. Melodrama is a film genre that notoriously makes use of music for its emotional capacity and for its ability to generate meaning about female protagonists in film texts that have been historically labelled as ‘women’s films’ or ‘female weepies’. In this discussion, I am interested in the use of diegetic music in melodrama, the function of which appears more difficult to outline. Diegetic music is also crucial in providing semantic information about characters and in establishing time and place. Yet what links can be drawn between diegetic music and the representation of gender in melodrama?

Jazz Works

2021 ◽  
pp. 162-184
Author(s):  
Mark Laver
Keyword(s):  
United States ◽  
Social Networks ◽  
21St Century ◽  
Film Music ◽  
The United States ◽  
Business Practices ◽  
Musical Work ◽  
Music Business ◽  
Government Regulations ◽  
The Relationship

In the 21st century, it is widely understood that, to make a living in jazz, Canadian musicians must either take a day job or seek out commercial opportunities in the United States. But it wasn’t always so. Until 1980, Toronto was home to a thriving music industry, driven in large part by a vibrant advertising and film music business. Indeed, far from leaving Canada for greener pastures to the south, musicians (including some Americans) were moving to Toronto. As U.S.-born musician Tom Szczesniak noted, “The streets were paved with gold.” This story complicates broadly accepted jazz discourses in a number of ways. Since it is based in Toronto rather than canonical U.S. jazz centers, it asks readers to re-examine common assumptions about North American jazz geography. As it reveals the relationship between jingles and jazz to be essentially symbiotic (at least for a time), it forces readers to rethink the presumed antagonism between jazz and commerce. Finally, as the story moves into the 1980s, it offers a vivid glimpse into the profoundly deleterious impact of neoliberal business practices and government regulations on social networks among musicians (including the union), and the musical work that sustains them.

Realization of a task as a method of work on the movement interpretation of a musical work

2018 ◽  
Vol 5 (1(8)) ◽  
pp. 45-57
Author(s):  
Barbara Dominiak
Keyword(s):  
Creative Process ◽  
Technical Skills ◽  
Individual Contribution ◽  
Musical Work ◽  
Theoretical Part ◽  
Definition Of

The article discusses the issue of a realization of movement interpretation of a musical work in accordance with the Emil Jaques-Dalcroze method. It gives a definition of the notion of movement interpretation, considers the role of a performer as an essential link between the author and a recipient, the existence levels of a musical-movement composition in view of Mieczysław Tomaszewski’s concepts as well as methods of work with a group of performers on the realization of kinesthetic interpretation of a musical work. The theoretical part has been supplemented with a description of a movement interpretation, the creative process of which consisted in assigning particular tasks to performers instead of teaching them to make specific steps and gestures. Thanks to this, performers could be authors, not just performers or imitators, they moved naturally, made an individual contribution to the task and enjoyed a lot the process of developing the performance. The realization of a task as a method of work on interpretation is suitable for all groups regardless of their age and technical skills.

scholarly journals Musemes in affect. Philip Tagg’s model of music analysis

2020 ◽  
pp. 97-105
Author(s):  
Stefania Zielonka
Keyword(s):  
Cultural Context ◽  
Film Music ◽  
Music Analysis ◽  
Musical Structure ◽  
Semiotic Analysis ◽  
Musical Work ◽  
Multi Level ◽  
Musical Communication

The paper is an attempt to synthesize the most important aspects of a model of popular and film music analysis proposed by British musicologist Philip Tagg. Tagg, using the category of musemes – universal meaning units, isolated from the musical structure of the composition on the basis of criteria established for every given case – examines selected pieces using multi-level semiotic analysis. In his model Tagg takes into account both the importance of the broadly understood cultural context and the intertextuality of the piece. He also emphasizes the role of affect in musical communication, which is necessary to fully understand the meaning of a musical work.

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