scholarly journals Abele Indigenous Musical Genre in the Context of Yeji Kajoji Festival

2021 ◽  
Vol 4 (1) ◽  
pp. 29-40
Author(s):  
Acquah E.O. ◽  
Owusu-Ansah J.

The role of indigenous musical performances in traditional festivals has been very significant in the lives of Africans. In Ghana, some of such festivals are pivoted on particular distinctive natures of the indigenous music. One of such musical genres is the Abele music performed by the people of Yeji in the Bono-East region of Ghana. This music is formalized in the context of the Kajoji festival celebrated annually by the community. Through ethnographic research design, the study documents the role of Abele music in the context of the Yeji Kajoji annual festival. The reason is to add to the literature of traditional music scholarship in Ghana while the source materials from the music can be used in the music classroom for music learning. In dealing with the study, participant’s observation and interview were used to collect the needed data. Participants for the study included some purposely selected members of the Abele musical ensemble as well as the paramount chief of the area. It was found out that the Kajoji festival is a very vital mainspring of the traditional education and the remit of the people’s culture while the Abele music serves as the side attraction of this festival.

2013 ◽  
Vol 51 (1) ◽  
pp. 1 ◽  
Author(s):  
Yanwar Pribadi

<p>This paper addresses three institutions in Madurese santri culture: the pesantren (Islamic traditional education system), the Nahdlatul Ulama, and the kiai (tradisional Islamic authority). These three elements have characterised and become central part of both Islam and politics in Madura. The issues are raised in this paper: the nature of pesantren, the role of Nahdlatul Ulama, and kiais within the whole tradition of santri Islam in Madura. How does each of these elements form relationships with the others? These questions lead to answer the main question: Is Islam in Madura different from Islam in other places in Indonesia? Today, it seems clear that despite their rather changed perceptions of modern education, Islamic associations, and men of religion, Madurese people continue to preserve their sacred values, as the main three elements of the santri culture in Madura which have had a great influence on society, in both religious and worldly domains. The people share the view that Islamic law (shari’a) is fundamental to daily life and thus must be integrated in all aspects of life. However, like Islam in other places in Indonesia, the characteristic of Islam in Madura emphasizes primarily, but not exclusively, on aspects such as mysticism and local cultures.</p><p> [Artikel ini menjelaskan tiga elemen penting budaya santri yang melekat pada masyarakat Madura, yaitu pesantren, mewakili elemen pendidikan Islam tradisional, Nahdlatul Ulama, mewakili organisasi Islam, dan kiai, merepresentasikan tokoh Islam. Ketiga elemen tersebut berjalin-kelindan dan membentuk relasi yang kompleks antara Islam dan politik sebagaimana dipraktikkan dalam masyarakat Madura. Dua persoalan penting yang hendak dijawab melalui artikel ini yaitu bagaimana karakter pesantren, Nahdlatul Ulama, dan kiai yang menjadi dasar Islam-santri di Madura dan bagaimana ketiga elemen tersebut saling terkait satu sama lain. Persoalan ini kemudian mengantarkan pada pertanyaan penting lainnya, yakni apakah Islam di Madura memiliki karakteristik dan bentuk yang berbeda dengan Islam yang hidup di wilayah lain di Indonesia? Sampai sekarang, meski masyarakat Madura mengalami pergeseran dalam menilai pendidikan modern, organisasi Islam, dan ulama, mereka masih tetap mempertahankan nilai-nilai sakral agama. Ini bisa dibuktikan dengan kuatnya pengaruh pesantren, Nahdlatul Ulama, dan kiai dalam urusan agama dan duniawi. Masyarakat Madura meyakini bahwa syariat Islam sangat penting dan perlu diterapkan dalam keseluruhan aspek kehidupan mereka. Namun, seperti Islam di wilayah lain di Indonesia, Islam di Madura juga sangat dipengaruhi oleh tasawuf dan budaya lokal.]</p>


The Oxford Handbook of Music and Advertising assembles an array of forty-two pathbreaking chapters on the production, texts, and reception of advertising through music. Uniquely interdisciplinary, the collection’s tripartite structure leads the reader through these stages in the communication of the advertising message as presented by Chris Wharton (2015). The chapters on production study the factors, activities, and people behind the music for the marketing pitch, both past and present. Prominent throughlines in the section include factors influencing the selection of music (and musicians) for advertising, the role of music in corporate branding strategies, the creative forces behind the soundscape of advertising, and industry practices that undergird all aspects of music in commercial contexts. The section on Text focuses on analytic and historical approaches to ads in various media, and includes commentaries on musical genres in ads ranging from Western European art music to American popular genre. Also covered in this section is ad music as used in different ad genres, such as political ads, public service announcements, and television commercials. The analyses used in this section draws from traditional music theory, semiotics, and hermeneutic analysis. Finally, the last section addressing “Reception”—with contributions by researchers in psychology, marketing, and other fields—involves the formulation of models and theories, and implementation of research methods to examine how the presence of music may influence peoples’ attitudes, emotions, thoughts, and behaviors in the context of advertisements and within service environments such as stores, restaurants, and banks. The editors and chapter contributors of this book bring a diversity of perspectives to the topic but share a united aim: to illuminate music’s vital contribution to the advertising message.


2021 ◽  
Vol 1 (1) ◽  
pp. 13-25
Author(s):  
Justice O. ◽  
Emmanuel O.A.

Ethnomusicology has an important mission of providing a body of musical knowledge that can be drawn on by artist-composers, performers, dancers as well as scholars in the field of music. The paper therefore presents an outcome of a creative ethnomusicological study of abele music among the Yeji people of the Bono-East Region in Ghana. Using Euba’s theory of creative ethnomusicology and Nketia’s concept of syncretism, the study highlights the indigenous elements of abele musical genre and unearths the process where these elements were used to create a musical artefact called Abelengro. Data for the study were collected through observation and adopted definitive analysis to provide the materials for the composition. The study revealed that Abele music contains rich source materials for creating a neoclassicism of African traditional music that could be enjoyed by a wide range of people. It is envisaged that these rich indigenous musical elements and idioms are harnessed by contemporary art musicians to achieve the uniqueness of African identity in art music compositions in Ghana.


Author(s):  
Emily Akuno

The Kenyan music classroom is a tapestry of experiences, challenges and revelations that accommodate, support, and impact creativity. The curriculum allows for the application of a variety of resources for delivery, with facilities varying with the learning context. Technology has greatly influenced the evolution of music styles in the country, resulting in a rich and varied soundscape as the learning environment. This chapter addresses the issue of availability and use of technology in music learning, and its impact and possible ramifications on policy and curriculum planning. Field studies reveal varying degrees of availability and application of resources and articulate the role of technology in facilitating music experience, skill development, and knowledge transfer. The article recommends rethinking music learning and instruction, adoption of new teaching strategies, and conceptualization of creativity and the curriculum through technology.


Author(s):  
Zainal Abidin Achmad ◽  
Rachmah Ida ◽  
Mustain Mustain

Campursari music is a trend on the radio and a favorite of the people of East Java, so it is shifting towards popular culture. This study aims to uncover the proliferation of campursari music and the role of cultural radios. This qualitative research uses a virtual ethnography method, which focuses on the physical presence and virtual text together. The subjects are technology (radio and communication technology on the internet), humans (radio listeners), physical interactions, and virtual interactions. Data collection used participant observation through observation and interviews offline and online in the form of various texts, writings, images, and audiovisuals on Facebook, Twitter, WhatsApp, Instagram, and Youtube. The informants of this study were four cultural experts, namely: Sumadi, Anton Sani, Ibnu Hajar, and Juwono. This study carried out participatory involvement for one year in the virtual world and 30 days living in four cities: Surabaya, Nganjuk, Banyuwangi, and Sumenep. Manthous's campursari music is a fusion of pentatonic and diatonic scales despite the addition of various musical instruments. It has several sub-genres, including campursari janger, campursari kendang-kempul, campursari keroncong dangdut, campursari dangdut Madura, campursari jaranan dangdut, campursari dangdut koplo, campursari dangdut hip-hop, and campursari dangdut acoustic. Cultural programs and campursari music reinforce the reliability of radio to maintain local culture (Javanese, Madura, Using). They are a means of maintaining local identities to stem global culture. No matter how hard the invasion of foreign culture, can not disrupt the local tastes of people. Campursari music proliferation is a modification to traditional music to serve the tastes of the people, to avoid it from extinction. Campursari music must be able to adapt to the current era. The four radio cultures in East Java make campursari music a primary commodity to attract radio listeners and as part of the lives of local people.


2003 ◽  
Vol os-40 (1) ◽  
pp. 41-58 ◽  
Author(s):  
Zsuzsanna Kiraly

The aim of this paper is to describe the process of solfège learning when assisted by computers. The research was conducted in the Länsi-Uusimaa Music Institute in Finland. The study focused on pupils’ attitudes, opinions, motivation, and learning-outcomes using computer-based music learning. We also examined how Solfeggio 1, the new electronic ear-training material, works. Jukka Louhivuori (1990) has examined the didactical questions of computer-assisted music education. He emphasized that learning music with a computer does not mean the replacement of “real” music. The notions of learning and teaching can change in quality, mainly in the area of “learning-by-doing” and “discovery learning” in the computer-assisted music classroom. It was found that computer-assisted music learning is more agreeable and effective than traditional music learning. Although results showed that we need a well-functioning, modern environment and a well-educated “researcher-teacher,” well-motivated pupils are the most important aspects.


2019 ◽  
Vol 31 ◽  
Author(s):  
Helen Kõmmus

The article examines the terminology of folk/traditional music in the context of folk music festivals. The main research interest is in the development of the ethnomusicological vocabulary, especially in relation to contemporary folk music festivals. The research focuses on the author’s fieldwork materials from the Kaustinen Folk Music Festival in Finland and the Viljandi Folk Music Festival in Estonia during 2004–2018. The theoretical framework is based on academic approaches to folk/traditional music terminology in the European and American folkloristics and (ethno)musicology from the 18th century to the present day. The comparative analysis of fieldwork materials from the Estonia’s and Finland’s largest folk music festivals over the last 15 years indicates that the active role of folk music festivals generates new musical genres and relevant vocabulary.


2019 ◽  
Vol 19 (2) ◽  
pp. 23-38
Author(s):  
Daniel Hummel

A small but growing area of public administration scholarship appreciates the influence of religious values on various aspects of government. This appreciation parallels a growing interest in comparative public administration and indigenized forms of government which recognizes the role of culture in different approaches to government. This article is at the crossroads of these two trends while also considering a very salient region, the Islamic world. The Islamic world is uniquely religious, which makes this discussion even more relevant, as the nations that represent them strive towards legitimacy and stability. The history and core values of Islam need to be considered as they pertain to systems of government that are widely accepted by the people. In essence, this is being done in many countries across the Islamic world, providing fertile grounds for public administration research from a comparative perspective. This paper explores these possibilities for future research on this topic.


Owner ◽  
2019 ◽  
Vol 3 (2) ◽  
pp. 160
Author(s):  
Victorinus Laoli

One manifestation of the important role of banking in a region, as implemented by PT Bank Sumut, Gunungsitoli Branch, is to distribute loans for investment, consumption and working capital for the people in the area. The purpose of providing credit for banks is the return of credit that earns interest and can increase income to finance activities and business continuity. From the results of research conducted with this data collection technique, it shows that PT Bank Sumut has a number of loans from 2009 to 2014 which each year rises. From this study, it is also known that the rate of credit repayment has a positive influence on the level of profitability.


2020 ◽  
Vol 10 (3) ◽  
pp. 186-193
Author(s):  
REN YANYAN ◽  

The friendship between nations lies in the mutual affinity of the people, and the people’s affinity lies in the communion of hearts. The cultural and humanities cooperation between China and Russia has a long history. In recent years, under the role of the“Belt and Road” initiative, the SCO, and the Sino-Russian Humanities Cooperation Committee, Sino-Russian culture and humanities cooperation has continued to deepen. Entering a new era, taking the opportunity to promote Sino-Russian relations into a “new era China-Russia comprehensive strategic cooperative partnership”, the development of human relations between the two countries has entered a new historical starting point, while also facing a series of problems and challenges. This article is based on the current status of Sino-Russian human relations in the new era, interprets the characteristics of Sino-Russian human relations in the new era, analyzes the problems and challenges of Sino-Russian human relations in the new era, and tries to propose solutions and solutions with a view to further developing Sino-Russian cultural and humanities relations in the new era. It is a useful reference, and provides a reference for future related research, and ultimately helps the Sino-Russian cultural and humanities relations in the new era to be stable and far-reaching.


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