scholarly journals Doing Hijrah Through Music: A Religious Phenomenon Among Indonesian Musician Community

2021 ◽  
Vol 28 (2) ◽  
Author(s):  
Bambang Qomaruzzaman ◽  
Busro Busro
Keyword(s):  
Musical Instruments ◽  
The Past ◽  
Alternative Path ◽  
True Path ◽  
Musical Activities

This paper studies the variants of hijrah movements among Muslim youths in Bandung, Indonesia, in responding music. Hijrah (to migrate spiritually) was first interpreted as abandoning the past sinful life into the path of Islam. In its development, it is defined as leaving behind “un-Islamic” activities, including music. The latter meaning of hijrah conveys to ex-musicians performing hijrah to completely abandon music and even destroys their musical instruments. Among hijrah groups, Gerakan Pemuda Hijrah conveys the detrimental effects of music for Islamic morality and faith. For them, music will drive Muslims to the jāhilīyah (ignorance), shirk (polytheism) and bid‘ah (innovation/heresy). Amidst this situation, Komunitas Musisi Mengaji (KOMUJI) emerges to practicing hijrah by performing musical activities and even employing “musicking” as a way to attain the true path of Islam. This paper reveals the different views of those groups concerning music and hijrah, as well as shows an alternative path amid Islamism and globalization.

scholarly journals A FIELD GUIDE TO SONIC BOTANY: THOUGHTS ABOUT ECO-COMPOSITION

Tempo ◽  
2020 ◽  
Vol 75 (295) ◽  
pp. 31-44
Author(s):  
Maayan Tsadka
Keyword(s):  
Organic Matter ◽  
Performance Practice ◽  
Musical Instruments ◽  
Musical Composition ◽  
Notation System ◽  
Field Guide ◽  
The Past ◽  
Tuning Forks ◽  
Texture Size ◽  
Ongoing Project

AbstractSonic botany is an ongoing project that I have been developing over the past few years. It incorporates natural artefacts: dry leaves, pods, flowers, branches, rocks, bones and other organic findings. These are used as musical instruments that are played on with a scientific/musical tool: tuning forks in various frequencies. The vibration from the tuning forks resonates through the natural artefacts which amplify the vibration and – via sound – reveal the texture, size, material and condition of the organic matter. This process generates new sonic material, new context and new forms of musical composition. The practice developed into several compositions and projects, a performance practice, a notation system and a way of listening. Here I share some of the insights I gained through this process, the tools and the compositional framework.

Students' experiences of collaborative creation through songcrafting in primary school: Supporting creative agency in ‘school music’ programmes

2016 ◽  
Vol 33 (3) ◽  
pp. 263-281 ◽  
Author(s):  
Sari Muhonen
Keyword(s):  
Music Education ◽  
Qualitative Methods ◽  
Primary School ◽  
Teaching Practices ◽  
Classroom Community ◽  
Individual Interviews ◽  
The Past ◽  
Creative Agency ◽  
School Music ◽  
Musical Activities

The study reported in this article investigates students’ experiences (n=41) of their primary school songcrafting, examining the potential to support creative agency within school music education programmes. Songcrafting refers to a collaborative composing practice in which everyone is considered to be a capable creator of melodies and lyrics, and where negotiation, collaboration, and openness to the situation are essential. Through semi-structured individual interviews with students who had experienced songcrafting in the past, analysed with qualitative methods, it was found that the students' narration of songcrafting included meanings related to general agency, creative agency, musical participation within the classroom community, and documented and shared collaborative musical products, or ‘oeuvres’.The results of this study illustrate the various often unforeseeable meanings produced through participation in collaborative musical activities. Furthermore, they highlight the potential to enrich meaningful teaching practices and pedagogy through the examination of students' experiences, and exploring the potentials in narrating one's musical stories. These findings suggest that music education practices could benefit from the inclusion of a broader range of opportunities for the students to create their own music, and the sensitive facilitation of collaborative music creation processes.

scholarly journals Exploring the motivations for building new digital musical instruments

2018 ◽  
Vol 24 (3) ◽  
pp. 313-329 ◽  
Author(s):  
Gina Emerson ◽  
Hauke Egermann
Keyword(s):  
Electronic Music ◽  
Interview Study ◽  
Musical Instruments ◽  
Sound Synthesis ◽  
Responsive Systems ◽  
The Past ◽  
Music Making ◽  
Digital Sound

Over the past four decades, the number, diversity and complexity of digital musical instruments (DMIs) has increased rapidly. There are very few constraints on DMI design as such systems can be easily reconfigured, offering near limitless flexibility for music-making. Given that new acoustic musical instruments have in many cases been created in response to the limitations of available technologies, what motivates the development of new DMIs? We conducted an interview study with ten designers of new DMIs, in order to explore (a) the motivations electronic musicians may have for wanting to build their own instruments; and (b) the extent to which these motivations relate to the context in which the artist works and performs (academic vs club settings). We found that four categories of motivation were mentioned most often: M1 – wanting to bring greater embodiment to the activity of performing and producing electronic music; M2 – wanting to improve audience experiences of DMI performances; M3 – wanting to develop new sounds, and M4 – wanting to build responsive systems for improvisation. There were also some detectable trends in motivation according to the context in which the artists work and perform. Our results offer the first systematically gathered insights into the motivations for new DMI design. It appears that the challenges of controlling digital sound synthesis drive the development of new DMIs, rather than the shortcomings of any one particular design or existing technology.

Between the Silence of the Past and the Future

Światowit ◽  
2019 ◽  
Vol 57 ◽  
pp. 117-128
Author(s):  
Anna Gruszczyńska-Ziółkowska
Keyword(s):  
Higher Education ◽  
Financial Support ◽  
State Of The Art ◽  
Experimental Studies ◽  
Musical Instruments ◽  
The Past ◽  
Reconstruction Methods ◽  
The Future ◽  
New Research

Archaeomusicological research currently con- ducted at the Institute of Musicology, University of Warsaw, institutionalised thanks to the financial support from the Ministry of Science and Higher Education (grant NPRH), gave the opportunity to develop a wider field of research. The project includes not only the documentation of musical instruments but first and foremost experimental studies. We started with completely new research on idiophones (e.g. on the sounds of lithophones and rattles), returned to previously closed topics (e.g. gusli from Opole), and developed reconstruction methods using state-of-the-art technology (e.g. the reconstruction of flutes).

scholarly journals Academization of the Ukrainian Bandura by the Proficient Bandura-Craftsmens of the XX – Early XXI Centuries

2021 ◽  
Vol 11 (4) ◽  
pp. 2459-2480
Author(s):  
Iryna Ya. Zinkiv
Keyword(s):  
Middle Ages ◽  
Turning Point ◽  
Musical Instruments ◽  
Soviet Period ◽  
Creative Activity ◽  
Professional Performance ◽  
The Past ◽  
Baroque Era ◽  
Building Component ◽  
Diatonic Scale

Among the main signs of Ukrainian culture, its instrumental artifact, the bandura, which is the nation-building component of Ukraine, holds a significant place. The proposed paper attempts to characterize the bandura development from the diatonic instrument at the beginning of XX century, developed by the prominent Ukrainian bandura craftsmen in their creative activity – O. Korniievskyi, I. Skliar, V. Herasymenko, – to the modern “chromatic” instrument with dual-diatonic scale, wide sound range and technical characteristics. Only two from among several play methods that existed in the traditional popular-professional performance of the past epochs became firmly established before the twenties of XX century – Chernihiv method, subsequently named as Kyiv method, and Kharkiv method. Each was associated with different way of holding the instrument – perpendicular to and parallel to the performer's body. In both cases, the performers held the bandura vertically, pointing the neck upwards, which was consistent with the stable parameters of the national instrumental tradition of performing on zittern-like instruments. Starting with psalters depicted, in particular, on the fresco “Musicians” at the Cathedral of St. Sofia and other iconographic artifacts of the Middle Ages and Baroque era. The paper considers the academicization of both bandura types in terms other prominent bandura craftsmen activity, who worked during the Soviet period as part of big associations – Chernihiv and Lviv Factories of Musical Instruments. Particular emphasis is placed on the activities of craftsmen of the Chernihiv Academic Bandura – O. Korniievskyi, designer of one of the first modern hybrid instruments, and V. Tuzychenko, an adherent of the Chernihiv Bandura. The development of not only the Chernihiv-Kyiv but also the Kharkiv bandura types is associated with the name of I. Skliar. The work of Lviv craftsman and prominent bandura player V. Herasymenko on the creation of the Lviv-type bandura and new models of Kharkiv diatonic and “chromatic” bandura, which are nowadays adapted to the tradition of modern bandura performance, became the turning point in the activity of prominent Ukrainian craftsmen.

Music and the Use of the Profits of the Anglo-American Slave Economy (ca. 1610–c. 1810)

2021 ◽  
Author(s):  
David Hunter
Keyword(s):  
British Empire ◽  
Small Businesses ◽  
Slave Trade ◽  
Royal Academy ◽  
Musical Instruments ◽  
Slave Labor ◽  
Financial Gain ◽  
Anglo American ◽  
First Time ◽  
Musical Activities

During the era of the Anglo-American slave trade ca. 1610–ca. 1810, music itself offered few opportunities for immense financial gain. By contrast, the slave trade (transatlantic, intra-coastal, and local) and the use of slave labor (not just on plantations but also in manufacturing, small businesses, and domestically) provided profits to owners who put some of that surplus into fostering musical activities such as purchasing lessons, instruments, and scores; subscribing to opera and concert seasons; hiring musicians; and even buying a musical prodigy—Muzio Clementi—from his father in Rome. In addition to considering the opportunities afforded individual owners and families by slave-derived wealth, this chapter brings to the fore theories of the commercialization of consumption, capitalism, and the development of empire. It points to the use of slave-related products such as ivory on musical instruments. It demonstrates how significant slavery’s investors were to the establishment of the Royal Academy of Music in London, the first opera company to be chartered as a business. It identifies professional and amateur musicians who were slave owners. These previously unknown or disregarded links between slavery and the musical world of the nascent British empire are laid bare for the first time.

Ad-Hoc Aesthetics: Context-dependent composition strategies in music and sound art

2017 ◽  
Vol 23 (1) ◽  
pp. 12-19 ◽  
Author(s):  
Marinos Koutsomichalis
Keyword(s):  
Ad Hoc ◽  
Musical Instruments ◽  
Sound Art ◽  
Artistic Practice ◽  
The Past ◽  
Fixed Material ◽  
Contextual Dependency ◽  
Context Dependent

Contemporary trains of thought largely denounce hylomorphism and a series of dichotomies of the past in favour of rather hybrid, all-inclusive and non-anthropocentric schemata. Yet, the former seem to still pervade our understanding of music and sound art in several respects. For many, composition is a primarily abstract process, musical instruments and audio-related technologies are fixed material means, and artists are creative individuals who are solely and primarily responsible for the artworks they produce. In this article a series of ad hoc and context-dependent compositional traits are scrutinised, with reference to theory as well as to actual artistic practice (both historical and contemporary), and are shown to transcend such assumptions in more or less straightforward ways. In particular, a series of practices is examined that revolves around material inquiry, anti-optimality, and hybrid, reflexive or ‘meta’ interfaces. More, DIWO (Do It With Others) approaches to composition are discussed and shown to echo adhocracy and contextual dependency in various respects and by means of emergent autopoiesis. Certain slants to DIWO are finally examined with respect to a series of powerful (in the author’s opinion) metaphors, namely emergence, transience and post-selfhood.

scholarly journals Performing Arts and BarkaNaach of Dangaura Tharus as Folk Drama

2021 ◽  
Vol 3 (1) ◽  
pp. 26-33
Author(s):  
Megh Prasad Kharel
Keyword(s):  
Cultural Identity ◽  
Cultural Memory ◽  
Performing Arts ◽  
Musical Instruments ◽  
Community Based ◽  
Multiple Features ◽  
The Past ◽  
Rural Farmers ◽  
Folk Drama ◽  
Basic Features

This article examines different elements of folk drama in the BarkaNaach of Dangaura Tharus. It attempts to present the multiple features of the folk drama in the folk community. Based on the basic features of vernacular theatre, the study spotlights the key dramatic elements like ritual rule, context, narrative, stage and setting, characters and semiotic implication, song, dance and language as well as musical instruments and costumes in the presentation of BarkaNaach. The analysis of such drama in the light of elementary facet underlines the multiple sides of folklore as it embodies the cultural identity and value of Tharus. In doing so, I also argue that its theatrical aspects like plot and storyline are not unfamiliar to the rural farmers. Consequently, the study concludes that ritualistic performance of folk drama does not bring the unexpected happening, but it is repeated with their routinized act of cultural memory whatever performed in the past days of the ancestral force.

scholarly journals Paronella Park: Music, Migration and the ‘Tropical Exotic’

2016 ◽  
Vol 12 (2) ◽  
Author(s):  
Annie Mitchell
Keyword(s):  
World War Ii ◽  
Electric Power System ◽  
Community Music ◽  
Musical Score ◽  
World War ◽  
The Past ◽  
History Of ◽  
Movie Theatre ◽  
The Impact ◽  
Musical Activities

The history of Paronella Park is a tale of migration from Europe to far north Queensland; underscored by the music of a diversity of cultures that weaves a rich tapestry through this narrative; set to a backdrop of tropical wilderness in the rainforest of Mena Creek, via Innisfail. Jose Paronella arrived in north Queensland, Australia from Catalonia, Spain in 1911; where he spent many years working as a cane cutter. In 1929 he bought thirteen acres of land on Mena Creek to fulfil his dream of creating a Spanish castle and tourist resort. By 1935 Paronella’s dream had become a reality, with the completed construction of Paronella Park: a Spanish castle, picnic area, ballroom, movie theatre, hydro-electric power system, tennis courts and botanical gardens. Paronella Park became the cultural hub of the Mena Creek-Innisfail area, providing entertainment in movies, dances, balls and theatre. North Queensland was a base for Allied Service personnel during World War II, so musical activities increased greatly during this time with Australian and United States soldiers frequenting Paronella Park on rest and recreation. From this heyday, Paronella Park has survived destruction by cyclones and floods, fire, years of neglect, and finally restoration of much of the property. Over the past decade, Paronella Park has won extensive tourism awards. In 2010, to commemorate Paronella Park’s 75th anniversary, the musical The Impossible Dream was written and performed in Cairns. This paper traces the musical history of Paronella Park, investigates the cultural and musical activities performed there, identifies the bands and musicians who played at Paronella Park, their musical styles and repertoire, discusses the contribution of Paronella Park to tourism in north Queensland, and evaluates the influences of Spanish culture and music on the identity of the Mena Creek community. Music and lyrics from The Impossible Dream are transcribed and analysed to correlate their musical links to entertainment at Paronella Park during the 1930s and 1940s and identify Spanish influences in the musical score. The research also evaluates the impact of The Impossible Dream on recent tourism at Paronella Park, investigates current musical entertainment at Paronella Park and its potential for future development.

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