scholarly journals “PAMETHUK PARI” EKSPRESI MUSIKAL RITUAL PETHIK PARI DI DESA SUMBER ASRI KECAMATAN PURWOHARJO KABUPATEN BANYUWANGI JAWA TIMUR

2021 ◽  
Vol 20 (1) ◽  
pp. 1-13
Author(s):  
Yatimin Yatimin ◽  
Santosa Soewarlan
Keyword(s):  
Material Processing ◽  
Performance Art ◽  
Musical Instruments ◽  
New Music ◽  
Community Life ◽  
Mutual Respect ◽  
Musical Work ◽  
Musical Expression ◽  
Musical Piece ◽  
Ethnic Music

Pamethuk Pari, a Musical Expression of the Pethik Pari Ritual, is a form of music based on the ethnic Banyuwangi music using Angklung Paglak as a performance art. Interest in the existence of this ritual is becoming unknown in society. The phenomenon that occurs in the Pethik Pari ritual is rarely done in Banyuwangi Regency. The concept of art used is a symbolic concept with an arrangement concept that emphasizes new music with Banyuwangi ethnic music media. The initial steps in the process of creating a musical work Pamethuk Pari include 1) observation to determine the possible limitations to be packaged in a musical piece. Observations were made by looking for information that reviewed the Pethik Pari ritual, 2) Search for materials looking for instruments whose sound characters could represent rural nuances, 3) Collection of Materials, 4) Methods and Stages of Material Processing so that the links between the musical instruments could complement one another 5) Technical arrangement of materials by means of instrument exploration. The philosophy of the musical Pamethuk Pari contains guidelines for community life that teach mutual respect, togetherness, and gratitude to God Almighty.

Chinese toms in the making of the drum kit: Localization and exoticism

2021 ◽  
Vol 5 (2) ◽  
pp. 227-242 ◽  
Author(s):  
Henry Johnson
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Music Education ◽  
Popular Music ◽  
Musical Instruments ◽  
New Music ◽  
Late Nineteenth Century ◽  
The Future ◽  
Late Nineteenth

The late nineteenth century and early decades of the twentieth century saw the drum kit emerge as an assemblage of musical instruments that was central to much new music of the time and especially to the rise of jazz. This article is a study of Chinese drums in the making of the drum kit. The notions of localization and exoticism are applied as conceptual tools for interpreting the place of Chinese drums in the early drum kit. Why were distinctly Chinese drums used in the early drum kit? How did the Chinese drums shape the future of the drum kit? The drum kit has been at the heart of most popular music throughout the twentieth century to the present day, and, as such, this article will be beneficial to educators, practitioners and scholars of popular music education.

‘ROCK SPECTRALE’: THE CULTURAL IDENTITY OF THE ELECTRIC GUITAR IN TRISTAN MURAIL'S vampyr!

Tempo ◽  
2015 ◽  
Vol 69 (274) ◽  
pp. 22-32
Author(s):  
Ben Jameson
Keyword(s):  
Popular Culture ◽  
Cultural Studies ◽  
Cultural Identity ◽  
Popular Music ◽  
Musical Instruments ◽  
New Music ◽  
Electric Guitar ◽  
Concert Music ◽  
Analytical Approaches

AbstractThe electric guitar is one of the most iconic musical instruments of the twentieth and twenty-first centuries and, due to its ubiquitous use in much rock and popular music, it has developed a strong cultural identity. In recent years, as the electric guitar has become increasingly common in contemporary concert music, its cultural associations have inevitably shaped how composers, performers and listeners understand music performed on the instrument. This article investigates various issues relating to the electric guitar's cultural identity in the context of Tristan Murail's Vampyr! (1984), in the hope of demonstrating perspectives that will be useful in considering new music for the electric guitar more generally. The article draws both on established analytical approaches to Murail's spectral oeuvre and on concepts from popular music and cultural studies, in order to analyse the influence that the electric guitar's associations from popular culture have in new music.

scholarly journals COEXISTENCE OF CLASSICAL MUSIC AND GUGAK IN KOREAN CULTURE

2020 ◽  
Vol 5 ◽  
pp. 67-99
Author(s):  
So Hyun Park
Keyword(s):  
Classical Music ◽  
Traditional Music ◽  
Musical Instruments ◽  
Colonial Period ◽  
New Music ◽  
Flowering Period ◽  
Korean Culture ◽  
Korean Traditional Music ◽  
Japanese Colonial

Classical music and Korean traditional music ‘Gugak’ in Korean culture try various ways such as creating new music and culture through mutual interchange and fusion for coexistence. The purpose of this study is to investigate the present status of Classical music in Korea that has not been 200 years old during the flowering period and the Japanese colonial period, and the classification of Korean traditional music and musical instruments, and to examine the preservation and succession of traditional Gugak, new Korean traditional music and fusion Korean traditional music. Finally, it is exemplified that Gugak and Classical music can converge and coexist in various collaborations based on the institutional help of the nation. In conclusion, Classical music and Korean traditional music try to create synergy between them in Korean culture by making various efforts such as new attempts and conservation.

The New in Music

Tempo ◽  
1954 ◽  
pp. 8-13
Author(s):  
Jürgen Balzer
Keyword(s):  
New Music ◽  
Musical Composition ◽  
Musical Work ◽  
Modern Times ◽  
Greek Drama ◽  
Current Controversy ◽  
The One ◽  
A Current ◽  
Principal Task

In the year 1601 there appeared in Florence a musical work entitled Le Nuove Musiche (The New Music). The composer was Giulio Caccini, one of the leading members of the circle associated with the noble dilettanti who in attempting to revive the Greek drama laid the foundations of a new branch of music—opera. Le Nuove Musiche contains a collection of songs for solo voice to harp or lute accompaniment, of the kind that Caccini, who was singer to the Tuscan Court, had been singing for many years. The work—called not New Music, but The New Music—was a contribution to a current controversy in which the opposing side supported the “old” manner of musical composition, the one in which two or more melodies are woven together to form an elaborate pattern. (This manner of composition is known as polyphony, and in modern times the style has been called after one of its greatest masters, Palestrina). Consequently, Le Nuove Musiche has a long preface in which Caccini expounds the meaning of his songs, declaring, among other things, that the new style considers its principal task to be to interpret the poetry, to give rightful scope to the words by careful enunciation, and to let the tune bring out the phrasing of the poem, an aspect which, in the modernists' view, had been singularly neglected in polyphonic compositions.

scholarly journals Lantunan Masa Kecil dalam “Lullabybianu”

2018 ◽  
Vol 1 (1) ◽  
pp. 73
Author(s):  
Komang Wira Adhi Mahardika
Keyword(s):  
Social Media ◽  
Folk Song ◽  
Musical Instruments ◽  
Musical Composition ◽  
Musical Work ◽  
Deep Meaning ◽  
Special Rules ◽  
Traditional Songs

ABSTRAK“Bibi Anu”//Lamun payu luas manjus/Antenge tekekang//Yatnain ngabe masui//Tiyuk puntul//Bawang anggen sasikepan. Lagu rakyat dengan makna mendalam dan penuh pesan tersebut selalu terngiang di hati anak-anak Bali. Lebih dari itu, belaian kasih sang ibu terhadap anak tercinta dalam lirik dan nada-nada sederhana “Bibi Anu” menunjukkan bahwa siapa pun yang pernah menjadi anak-anak seharusnya senantiasa waspada, selalu mempersiapkan diri, untuk setiap keadaan. Hanya, seiring perjalanan waktu, sang lagu semakin tenggelam, dianggap usang, dan tercampakkan. Ada kesan bahwa menyanyikan lagu-lagu tradisional seperti “Bibi Anu” sudah ketinggalan zaman sehingga jarang diminati lagi. Selain itu dalam perkembangan media sosial yang sangat pesat ini, lagu tradisional seperti “Bibi Anu” sangat jarang ditemukan. Karenanya, penata ingin mengangkatnya secara baru, ke dalam karya “Lullabybianu”, yaitu dari kata lullaby dan “Bibi Anu”. Lullaby adalah nyanyian yang sudah mendunia yang dilantunkan untuk anak-anak. Garapan ini merupakan bentuk penyajian komposisi musik yang terlahir dari keinginan penata yang ingin mengangkat lagu pengantar tidur anak tradisional di Bali khususnya pupuh pucung untuk dijadikan sebuah karya musik baru yang dibawakan dengan kombinasi instrumen musik Barat dan Bali. Dalam hal ini, penata mengkombinasikan musik Barat dan Bali melalui media ungkap ansamble cello, piano, saxophone, perkusi dipadukan dengan instrumen gender rambat, suling, dan vokal. “Lullabybianu” digarap menggunakan ilmu harmoni dan teori musik lainnya yang di dalamnya terdapat aturan-aturan khusus yang mengikat sehingga penotasian karya ini menjadi baik dan benar.Kata kunci: komposisi musik, barat-Bali, “Bibi Anu”, lagu tidur, anak-anak. ABSTRACT“Bibi Anu”//Lamun payu luas manjus/Antenge tekekang//Yatnain ngabe masui//Tiyuk puntul//Bawang anggen sasikepan. The folk song which has deep meaning and full of messages is always ringing in the hearts of Balinese children. Moreover, mother's love for her beloved child in simple lyrics and tones in the "Bibi Anu” indicates that every child should always be alert, preparing for every circumstances. However, today, the song is getting drowned, considered obsolete and is marginalized. There is an impression that singing traditional songs such as "Bibi Anu" is regarded out of date so that such kind of song is not favoured anymore. In social media which develop rapidly, traditional songs such as "Bibi Anu" are rarely seen. Therefore, the composer wants to compose it newly, into a project named "Lullabybianu", i.e. from the words lullaby and "Bibi Anu". Lullaby is a universal song sung for children. This project is a form of presentation of the musical composition that comes from the desire of the composer to pick a traditional childhood's song in Bali, especially pupuh pucung into a new musical work performed with a combination of Western and Balinese musical instruments. In this case, the composer combines Western and Balinese music through an ansamble of cello, piano, saxophone, percussion combined with gender rambat traditional instrument, flute, and vocals. "Lullabybianu" is composed basing on the musical science of harmony and other musical theories in which there are special rules that bind so that the notation of this work will be good and true.Keywords: musical composition, western-Bali, "Bibi Anu", sleeping songs, children. 

scholarly journals MAKNA NYANYIAN MA’KAARUYEN DALAM KEHIDUPAN MASYARAKAT MINAHASA

Tumou Tou ◽  
2020 ◽  
pp. 44-67
Author(s):  
Markus Wibowo
Keyword(s):  
Community Life ◽  
Musical Work ◽  
Musical Meaning ◽  
Work Of Art ◽  
The Arts ◽  
Musical Elements

This research is a meaning of Ma'kaaruyen; a traditional musical work of art originating from Minahasa. Ma'kaaruyen is assumed to be one of the arts that reflects the life of the Minahasa community. Through a musicalological approach to the analysis of musical elements and the analysis of the texts of the Ma'kaaruyen song, meaning is found that integrates with the values ​​of the life of the Minahasa community. In the musical meaning it is known that Ma'kaaruyen has musical elements that form this song included in the category of melancholy singing, so that with lyrics or without lyrics this song is a melancholy song that is able to influence the soul. Ma'kaaruyen's extramusical meanings of the musical elements refer to the nature and character of traditional Minahasa community life, including: rhythm, melody, intervals, harmony, texture, and song form. The elements of music in Ma'kaaruyen are a reflection of the character and nature of traditional Minahasa society, which is associated with simplicity, calmness, gentleness, cooperation (mapalus), and mutual affection. Ma'kaaruyen's extramusical meaning from lyrics is that Ma'kaaruyen is a song that conveys religious messages, advice, affection, and expressions of heart (lamentations and regrets).

scholarly journals Universal skill of saxophonist as phenomenon modern of musical-creative practice

2021 ◽  
pp. 113-118
Author(s):  
Mihail Krupej
Keyword(s):  
Performance Art ◽  
Musical Expression ◽  
Creative Practice ◽  
Process Factors ◽  
Concrete Operations

The purpose of the article is to select practice-approved ways to the combinatorial presentation of the componentі of the musical expression, in which, on the base of the general beliefs about music-rhetorical base inventio tax ways of the joining to speech liberty of the combinatorial use the music material. The methodology consists of riverbed intonation approach that is to say by means of beliefs about the unity of process factors in music and speech, as this bequeathing in works of B.Asafiev and his followers in Ukraine, unrolled specified interdisciplinary generalization, on example text books A.Losev, R.Ingarden, E.Nazaykinkij, E.Markova and others. The scientific novelty of the work is based on original and the practically-creative approved the idea of joining in mechanism rhetorical inventio, practical persons, combinatorial collation fragment and holistic music that-image, which the sequence forms the speech continuum of the music. Conclusions. The made analysis of the theoretical life lengths from the theory of the improvisation and theoretical positions of the rhetoric has allowed formulating the concrete operations cortical music operations of inventio as a way of the semantic join generalising value that-symbol with author's and out author’s thematic acquisition in straightening of acquisition "spoken creation of the music". The last one meets the terms modern performance art with his "neo-gothic style" discharge from priority to composer activity.

Greek Record Making in the Early Days, 1896–1937

2018 ◽  
pp. 295-300
Author(s):  
Dick Spottswood
Keyword(s):  
United States ◽  
The United States ◽  
Musical Expression ◽  
Sound Recordings ◽  
Ethnic Music ◽  
The Public ◽  
History Of ◽  
Breaking Work

Richard K. Spottswood, who is respected by scholars, record collectors and music enthusiasts for his ground-breaking work documenting sound recordings of ethnic music, focuses on “Greek Record Making in the Early Days, 1896-1937. ”Early recording companies not only documented musical expression, but distributed music and were were an enormous influence on the tastes of the public. Spottswood recounts the history of recording activity, recording companies, major artists, instruments, and genres in Greece, Turkey, and the United States.

Introduction

2021 ◽  
pp. 1-10
Author(s):  
Bruce Adolphe
Keyword(s):  
Emotional Memory ◽  
New Music ◽  
Musical Expression ◽  
Inner Life ◽  
Improvisational Theater ◽  
Instrumental Technique ◽  
Listening Experience ◽  
The Mind ◽  
Physical Challenges ◽  
Theater Games

The Introduction explains the purpose and method of the book: to improve the musical imagination through creative, fun exercises based on improvisational theater games that have been reimagined for musicians. A sense of playfulness and spontaneity is central to this approach. The primary goal of developing the mind’s ear is to improve the ability to imagine and remember music in silence and to be able to hear in the mind music that is printed on the page without the aid of instrument. It is essential to attend to the musician’s inner life, to explore emotions in relation to musical expression, rather than only emphasize the physical challenges of instrumental technique. Strengthening emotional memory as actors are trained to do, as well as deliberately exercising the imagination and the mind’s ear will lead to more meaningful performances, more personal compositions, and will enrich the listening experience. The introduction also addresses related concepts in subsections: Something to Say; On Interpretation; On Performing New Music; Hearing in Silence.

Musique, que me veux-tu? Music, Meaning, and Narrative

Tekstualia ◽  
2017 ◽  
Vol 1 (3) ◽  
pp. 97-123
Author(s):  
Joanna Barska
Keyword(s):  
Cultural Factors ◽  
Semantic Interpretation ◽  
Musical Experience ◽  
Musical Work ◽  
Musical Piece ◽  
Musical Works ◽  
As If

Sloboda wrote that the meaning and emotions are the most important elements of the musical experience. The paper focuses on both these aspects and poses three questions about music and narrativity. First: whether or when can we talk about a narrative or narrativity with reference to musical works? Second: when can we speak of meaning in music? Third: in what way do our emotions affect that meaning and determine our interpretation of a musical work? Whenever a musical work is perceived as if it created a story in our mind, it is based both on the composer’s suggestions as well as on our own way of interpreting it, which depends on cultural factors. I make a distinction between two areas of music. The fi rst one only stimulates individual emotions, refl ections, recollections, etc., and it is represented, for instance, by etudes or fugues, without titles, commentaries, or any other hint as to the work’s semantic interpretation. This kind of music would produce a different, particular meaning for each listener – through its tempo, key, and character. The second area is the music with an intention of telling a story or at least implying certain moods, emotions, and meanings. The article analyses e.g. Franz Liszt’s Faust Symphony in Three Sketches after Goethe and Fryderyk Chopin’s Fantasy on Polish Airs in A major, Op. 13. and seeks the ways of applying the category of „tellability” to them so as to ultimately address the question whether a musical piece can be a story.

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