Why the Ancient Musical Essence is Still Retained in Dusun Tindal's Instrumental Music within its Modern Community?

2015 ◽  
Vol 3 (3) ◽  
pp. 24-31
Author(s):  
Chong Lee Suan
Keyword(s):  
Young People ◽  
Instrumental Music ◽  
Contemporary Music ◽  
Musical Instruments ◽  
Music Practice ◽  
Musical Styles

Objective - This paper examines Dusun Tindal's instrumental music practice within the context of modernity of the society in Tenghilan, a town that is located on northwest Sabah. The study looks into the driving modish musical styles and forms in the root of the ancient traditions especially in the aspects of musical natures, music compositions, musical functions, and philosophies. Methodology/Technique - The contemporary musical ensemble is a newly developed tradition combining a mixture of traditional and western musical instruments and styles. Due to the new mindsets and tastes of their young people, as well as to open up opportunities to venture into the exotic blooms of globalized musical festivals and tourism, their music is manifold and endeavoring in captive of the hearts of the global audience. Findings - The contemporary musical ensemble is a newly developed tradition combining a mixture of traditional and western musical instruments and styles. Due to the new mindsets and tastes of their young people, as well as to open up opportunities to venture into the exotic blooms of globalized musical festivals and tourism, their music is manifold and endeavoring in captive of the hearts of the global audience. Novelty - This study attempts to disclose the grounds and rationales behind the persistence of the Dusun Tindals in upholding their ancient musical essence until today Type of Paper - Empirical Keywords: Bamboo Orchestra; Dusun Tindal Contemporary Music; Dusun Tindal Music

THE MUSIC OF NICOLAUS A. HUBER

Tempo ◽  
2003 ◽  
Vol 57 (224) ◽  
pp. 22-38
Author(s):  
John Warnaby
Keyword(s):  
Instrumental Music ◽  
Contemporary Music ◽  
Substantial Body ◽  
The Past ◽  
Music Scene ◽  
Wide Range ◽  
German Speaking

There is a school of thought in Britain which suggests that the rigours of modernist composition resulted in sterility and uniformity. Yet in the German-speaking world, composers have explored a wide range of expressive possibilities within a modernist sensibility. They have proved that the discipline of modernism is capable of stimulating genuine individuality, and over the past 30 years, Nicolaus A. Huber has emerged as one of the most distinctively radical, yet equally recognizable personalities on the German contemporary music scene. In contrast to Lachenmann, Rihm, or Höller, Huber has not attempted anything on the largest scale, but in the spheres of orchestral, chamber and instrumental music, he has produced a substantial body of work of considerable originality and dramatic power, frequently involving theatrical elements.

scholarly journals A survey to investigate advanced musicians’ flow disposition in individual music practice

2018 ◽  
Vol 37 (1) ◽  
pp. 107-117 ◽  
Author(s):  
Marcos V. Araújo ◽  
Christopher F. Hein
Keyword(s):  
Teaching And Learning ◽  
Task Complexity ◽  
Daily Practice ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Practice ◽  
Music Practice ◽  
Loss Of Self ◽  
Practice Experience ◽  
Practice Time

This study explored advanced musicians’ dispositions to flow in musical practice. A total of 168 classically trained musicians answered a questionnaire assessing their proneness for flow experience during musical practice and associations between flow and demographic factors, practice routines and musical instruments. Dispositions to flow in musical practice did not vary across musical instrument groups, age or gender. Positive associations were found between daily practice time and flow, suggesting that flow may contribute to engagement with daily practice. Negative associations between music practice experience and loss of self-consciousness and challenge–skill balance were found, suggesting that even among experts the level of task complexity during practice may affect perceptions of competence. While six individual flow indicators were frequently experienced, three indicators were much less experienced, pointing to the existence of another similar relevant experience in the practice of expert performers, named as optimal practice experience. The article finishes with implications regarding the benefits of flow for teaching and learning practices.

scholarly journals A Historical Perspective of Mangalavattiyam

2021 ◽  
Vol 3 (2) ◽  
pp. 1-10
Author(s):  
Suganya Aravinthon
Keyword(s):  
Instrumental Music ◽  
Historical Perspective ◽  
Vocal Music ◽  
Research Paper ◽  
Musical Instruments ◽  
The Other ◽  
Historical Study ◽  
Solo Music ◽  
Musical Genres ◽  
Over Time

From the earliest days of the Tamil music tradition, music was considered to be a combination of vocal music, instrumental music and dance. Each of these musical genres is closely intertwined. Knowledge of one helps to know about the other. Instrumental music has been interpreted as accompaniment to solo music and dance and as a solo specialty. In Bharata's book 'Natyashasthram', musical instruments are generally divided into four categories as nerve (tata) hole (kasira) ¸ skin (avanatta) ¸ kana (kanja). In this context, it is a research paper on the history and use of the Nagaswaram and thavil instruments, which are referred to today as the Mangala Vaathyam, which the Tamils ​​have merged with their culture.  This article also examines in detail the ideological changes that have taken place over time in the use of these two musical instruments. At the same time, the use of these instruments in the sociological context is taken into account. Finally, this article is a historical study of the lineage of musicians who have mastered these instruments.

The Form and Meaning of Gondang Si Boru Nauli Basa in Batak Toba Traditional Ceremony

2021 ◽  
Vol 2 (3) ◽  
pp. 133-141
Author(s):  
Robert Paulus Pandiangan ◽  
Pulumun Peterus Ginting ◽  
Wiflihani
Keyword(s):  
Emotional Expression ◽  
Instrumental Music ◽  
Musical Instruments ◽  
Cultural Continuity ◽  
Data Presentation ◽  
Reduction Techniques ◽  
Library Research ◽  
Research Interviews ◽  
Toba Batak ◽  
The Village

This study aims to determine the form and meaning of the gondang Siboru Nauli Basa in traditional ceremonies of the Toba Batak people in the village of Salaon Tonga-tonga. The theoretical basis in this study discusses about gondang, gondang siboru nauli basa, gondang hasapi, traditional ceremonies, the form of gondang siboru nauli basa, the meaning of gondang siboru nauli basa. November 2020 to December 2020. This study determined the population of the Community who attended the hahomion ceremony in the village of Salaon Tonga-tonga, and set a sample of 7 people. The data collection techniques used in this study included observation, library research, interviews, documentation, and analysis. with data reduction techniques, data presentation, drawing conclusions. From this study, the results obtained include: The form of gondang siboru nauli basa, served using musical instruments hasapi, garantung, sullim, sarune hetek, hesek, and gondang siboru nauli basa is an instrumental music played to summon the spirits of deceased ancestors, this event still carried out until now (2020) especially in the silalahi clan as a tradition in the Toba Batak tribe, the function of the gondang siboru nauli basa in the hahomion ceremony is as a function of emotional expression, a function of cultural continuity, and an entertainment function.

Ryoki Ikeda and the Prioritising of Space over Time in Musical Discourse

2017 ◽  
Vol 22 (3) ◽  
pp. 378-384
Author(s):  
Adam Collis
Keyword(s):  
Contemporary Music ◽  
Sound Art ◽  
Music Practice ◽  
Art Form ◽  
Broadband Spectrum ◽  
Alternative Approach ◽  
Musical Discourse ◽  
The Status ◽  
Nature Of Time ◽  
Over Time

No art form so rigorously organises time as music. Whereas all art in some sense exists in time, music could be said to be of time. This article, however, questions implicit assumptions about the fundamental nature of time to music. In contrast, an alternative approach to the discourse of composition and analysis is proposed in which space rather than time is privileged. Russolo, Stockhausen, Cage and Agostino Di Scipio are cited as historical precedents where the status of time in music is questioned but a more detailed consideration is given to Ryoji Ikeda, a contemporary sound-art practitioner who, it is argued, represents a turn towards the privileging of space in contemporary music practice. This article argues that an approach to composition that implicitly accepts the primacy of time tends to privilege sounds that are more easily described symbolically, such as notated pitched sounds or materials with clear spectromorphological design. In contrast, an approach that places greater concern with the work in space facilitates the greater use of materials that could be considered ‘noise’, in the sense of both a broadband spectrum and signal disruption.

scholarly journals Tari Ratoeh Duek Perspektif Nilai Estetika Islam

2017 ◽  
Vol 6 (2) ◽  
pp. 52
Author(s):  
FAKHRUNNISA ALTAS
Keyword(s):  
Qualitative Research ◽  
Instrumental Music ◽  
Theoretical Foundation ◽  
Musical Instruments ◽  
Research Use ◽  
Literature Study ◽  
Cultural Survival ◽  
Emotional Function ◽  
Communication Function ◽  
Research Population

This study aims to find a way of presenting the music as accompaniment in the Sikh religious worship terkhususnya part Asadivaar, music functions as an accompaniment in implementing Asadivaar, and uses musical instruments in worship Asadivaar music as an accompaniment. This study is based on a theoretical foundation to explain the meaning form of presentation, understanding the function, the music, the music instrument, understanding of the Sikhs. This research was conducted at Gurdwara Nanak DevJiKampungKeling Medan in June until August 2016. The method in this research use descriptive qualitative research. Population Board Gurdwara and Sikh People who worship Gudawara Nanak DevJi while samples numbered 20 people. Data collected through observation, interviews, documentation, and literature study. The results of this study indicate that the form of presentation in the rituals of the Sikh religion is particularly Asadivaar implemented during worship takes place. There are four functions of music in the liturgy Asadivaar, namely Disclosure Emotional Function, Communication Function, Aesthetics Appreciation Function, Function and Stability Contribution to Cultural Survival. The usefulness of instrumental music in the worship of the Sikh religion which serves as a Tabla rhythm in the song, Harmonium function as chords and melody in a song, and tambourine serves as tempo and rhythm. Keywords: aesthetics Islam

scholarly journals The Application of Piano Accompaniment in Folk Music

2021 ◽  
Vol 1 (1) ◽  
pp. 5-7
Author(s):  
Qian Zheng
Keyword(s):  
Folk Music ◽  
Instrumental Music ◽  
Status Quo ◽  
Musical Instruments ◽  
Good Luck ◽  
Modern Music ◽  
The Status ◽  
History Of

Piano accompaniment has a history of more than one hundred years. Chinese national instrumental music has a long history and rich culture, which is an indispensable part in the history of Chinese folk music. With the development and change of modern music, Chinese folk music has entered an era of diversified development. As the "king of Musical Instruments", the combination of piano and Chinese national instrumental music was born by good luck. This paper mainly serious piano accompaniment used in folk music in the production, the status quo, so that more people understand, accept and pay attention to this new things, and even more to develop and innovation, to create more excellent works.

scholarly journals Strategi pemuda Gang Tato Desa Kemantren Kabupaten Malang melawan stigma sosial

2020 ◽  
Vol 5 (2) ◽  
pp. 63-78
Author(s):  
Risdawati Ahmad ◽  
◽  
Joan Hesti Gita Purwasih ◽  
Irawan Irawan
Keyword(s):  
Social Movements ◽  
Data Analysis ◽  
Young People ◽  
Data Collection ◽  
Qualitative Approach ◽  
Musical Instruments ◽  
Second Phase ◽  
Data Presentation ◽  
Collection Data ◽  
Teaching Programs

This thesis attempts to review how the Young People of Tattoo Alley interpret tattoos and social movements carried out to fight stigma. The process of extracting data is done through a qualitative approach. This study uses data collection techniques such as observation, interviews and documentation. The research location is in Tattoo Alley, Kemantren Village, Malang Regency. The process of data analysis is done through data collection, data reduction, data presentation, and drawing conclusions. Meanwhile, the validity of the data was examined using source triangulation techniques. The results of this study indicate that: First, there are two types of meaning of tattoos that are distinguished by phase, namely the first phase of meaning of tattoos tends to be negative, while the second phase of tattoos is more positively interpreted. Second, forms of social movements undertaken by Tattoo Alley Young People to fight stigma and discrimination include: conducting tutoring, training in mask craft, training in traditional musical instruments, and implementing teaching programs conducted by thugs.

scholarly journals Accessible Digital Musical Instruments—A Review of Musical Interfaces in Inclusive Music Practice

2019 ◽  
Vol 3 (3) ◽  
pp. 57 ◽  
Author(s):  
Emma Frid
Keyword(s):  
Computer Music ◽  
User Participation ◽  
Music Technology ◽  
Musical Instruments ◽  
Prosthetic Devices ◽  
Music Practice ◽  
Control Interface ◽  
History Of ◽  
User Groups ◽  
Musical Interaction

Current advancements in music technology enable the creation of customized Digital Musical Instruments (DMIs). This paper presents a systematic review of Accessible Digital Musical Instruments (ADMIs) in inclusive music practice. History of research concerned with facilitating inclusion in music-making is outlined, and current state of developments and trends in the field are discussed. Although the use of music technology in music therapy contexts has attracted more attention in recent years, the topic has been relatively unexplored in Computer Music literature. This review investigates a total of 113 publications focusing on ADMIs. Based on the 83 instruments in this dataset, ten control interface types were identified: tangible controllers, touchless controllers, Brain–Computer Music Interfaces (BCMIs), adapted instruments, wearable controllers or prosthetic devices, mouth-operated controllers, audio controllers, gaze controllers, touchscreen controllers and mouse-controlled interfaces. The majority of the AMDIs were tangible or physical controllers. Although the haptic modality could potentially play an important role in musical interaction for many user groups, relatively few of the ADMIs (14.5%) incorporated vibrotactile feedback. Aspects judged to be important for successful ADMI design were instrument adaptability and customization, user participation, iterative prototyping, and interdisciplinary development teams.

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