STORY OF TJONG A FIE: Programmatic Music Composition Combining Chinese, Malay and Western Music Elements

2017 ◽  
Vol 7 (9) ◽  
Author(s):  
Junita Batubara
Keyword(s):  
Music Composition ◽  
Western Music ◽  
Programmatic Music

scholarly journals KOMPLEKSITAS TABUH KREASI BARU GONG KEBYAR SANG NYOMAN PUTRA ARSA WIJAYA

2020 ◽  
Vol 13 (1) ◽  
pp. 73-88
Author(s):  
I Komang Kusuma Adi
Keyword(s):  
Music Composition ◽  
Western Music ◽  
Good Knowledge ◽  
Work System ◽  
Point Of Interest ◽  
Musical Elements

ABSTRACTThe complexity indicates the main characteristics of karawitan art as the meaning of the word “rawit” which means refined and complicated. Composing the complexity on Tabuh Kreasi Baru Gong Kebyar is not considered easily if it is not balanced by the good knowledge related to gamelan and its musical elements. Similarly, it is considered as the ways of the idea actualization which manifested into a music compostion. A talented composer namely Sang Nyoman Putra Arsa Wijaya is currently being a point of interest related to his musicality “Tabuh-Tabuh Kreasi Baru”  which seems too complicated. This Research tries to investigate the cases which construct the complexity of  musucality on Tabuh Kreasi Baru created by Sang Nyoman with textual ethomusicology approach. Based on the result of inductive, interpretative, and garap analysis, it can be assumed that (1) the complexity of Tabuh Kreasi Baru by Sang Nyoman is influenced by his art behaviours. (2) all off structure, achievement of technical play, and the work system of instruments are designed by the concepts witch have the complicated sound to guess and attracting audiences to think of it. (3) some of material which have been processed are the musical elements of Gong Kebyar that never used by most musicians. Then, (4) some of instruments on his garap are the manifestation of interescting style of western music composition. Basically, Sang Nyoman considers the complexity on his desire in case to contribute the new insight related to the aesthetics of a composition and persuades the art lovers to do not think passively, otherwise they are able to develop their ability of imagination and intellegence in apreciating an art work.Keyword : Complexity, Sang Nyoman, Tabuh Kreasi Baru, Gong Kebyar ABSTRAKKompleksitas  merupakan ciri pokok seni karawitan sebagaimana arti kata “rawit” yang berarti halus dan rumit. Mencipta kompleksitas pada Tabuh Kreasi Baru Gong Kebyar, bukan perkara mudah jika tidak diimbangi dengan pengetahuan yang cukup terkait gamelan beserta unsur-unsur musikalnya. Begitu juga dengan cara mengaktualisasikan ide dan gagasan ke dalam wujud komposisi. Seorang komposer  bernama Sang Nyoman Putra Arsa Wijaya belakangan tengah menjadi sorotan terkait musikalitas Tabuh-tabuh Kreasi Baru-nya yang dipandang  begitu komplek. Penelitian ini berupaya mengungkap hal-hal yang mengkonstruksi kompleksitas musikal Tabuh Kreasi Baru Sang Nyoman dengan pendekatan tekstual etnomusikologi. Berdasarkan hasil analisa induktif, interpretatif dan garap, maka dapat diketahui bahwa; (1) kompleksitas Tabuh Kreasi Baru Sang Nyoman dilatar belakangi oleh pola-laku kesenimananya. (2) segala bentuk struktur, capaian teknik permainan dan  sistem kerja instrumen didesain sedemikian rupa oleh konsep yang bunyinya “susah ditebak” dan “ikut berpikir”. (3) sebagian materi yang diolah merupakan unsur-unsur musikal Gong Kebyar yang jarang digunakan oleh seniman  kebanyakan. Begitu juga dengan (4)  prabot garapnya yang sebagian merupakan hasil silang gaya komposisi musik barat. Pada intinya Sang Nyoman mempertimbangkan kompleksitas itu atas keinginan untuk memberi wawasan baru terkait estetika komposisi, dan mengajak penikmat seni untuk tidak pasif, melainkan dapat mengembangkan kemampuan imajinasi dan intelekstual dalam berapresiasi seni.Kata kunci : Kompleksitas, Sang Nyoman, Tabuh Kreasi Baru, Gong Kebyar.

A Brief History of Motives—Composition

2021 ◽  
pp. 25-54
Author(s):  
Brent Auerbach
Keyword(s):  
Twentieth Century ◽  
Music Composition ◽  
Historical Narrative ◽  
Western Music ◽  
Early Twentieth Century ◽  
History Of ◽  
Changing Role

Chapter 2 provides a brief history of the role of motives in Western music composition. Motive is posited as one of the several generative forces in music, alongside harmony, counterpoint, and form. Motive’s relative prominence is tracked in style periods of the last four centuries, with peak influence manifesting in the late Romantic and early twentieth-century periods. This changing role of motives is illustrated by a set of analyses of chronologically ordered pieces by Handel, Mozart, Brahms, Wagner, Holst, and Schoenberg. The musical examples, in addition to supporting the historical narrative, serve to introduce readers to the new conventions of nomenclature and rules motivic association that will be presented in detail in the methodology chapters of the book.

scholarly journals PROSPEL: KEMUNCULANNYA PADA MUSIK KERONCONG

2019 ◽  
Vol 12 (2) ◽  
pp. 51-61
Author(s):  
Mohammad Tsaqibul Fikri ◽  
Zulkarnain Mistortoify
Keyword(s):  
Music Composition ◽  
Western Music ◽  
Final Exam

ABSTRAKTulisan dalam jurnal ini merupakan salah satu bagian dari pembahasan penelitian tesis dengan judul “Prospel: Wujud, Eksistensi dan Peranannyadalam musik keroncong” oleh penulis dan sebagai bagian dari ujian akhir magister.Fokus kajian tulisan ini adalah kemunculan prospel pada lagu keroncong. Prospel merupakan salah satu fenomena musikal sebagai pembuka lagu keroncong yang diduga muncul karena adaptasi dari repertoar komposisi musik Barat. Persentuhan dengan komposisi musik Barat tersebut tidak lepas dari pengaruh Belanda pada saat melakukan ekspansi di Nusantara. Adaptasi tersebut kemudian menjadi sebuah fenomena yang berkembang dan bertahan pada lagu-lagu keroncong hingga sampai saat ini.Prospel kemudian menjadi salah satuciri khas dalam musik keroncong.Kata kunci: kemunculan, pembuka lagu, adaptasi, ciri khas.ABSTRACTThe journal is one part of the discussion of the research thesis entitled “Prospel: Being, Existence and His Role in Keroncong” by writer and as part of the final exam master. The case of studies is the emergence prospel article on keroncong. Prospel is one of the musical phenomenon as the opening song kroncong in my prediction emerged as an adaptation of the repertoire of Western music composition. Exposure to Western music composition could not be separated from the Dutch influence at the time of expansion in the archipelago. These adaptations became a phenomenon to grow and survive in songs Keroncong until today. Prospel later became one characteristic in keroncong music.Keywords: appearance, the opening song, adaptation, characteristic.

scholarly journals The Creation of Nyanyian Layonsari Opera

2020 ◽  
Vol 7 (1) ◽  
pp. 77-88
Author(s):  
I Gusti Ngurah Wiryawan Budhiana
Keyword(s):  
Music Composition ◽  
Western Music ◽  
Musical Style ◽  
Sound Effect ◽  
The Creation ◽  
In The Beginning

ABSTRACTThe creation of Nyanyian Layonsari was started with the writer's anxiety as a musician. In his journey as a cellist and conductor, he plays many works originating from Western Classical composers. In concerts, he rarely plays works originating from Indonesian composers; even it can be said to have never played them. From that experience, the writer wants to make a composition which has a characteristic. Nyanyian Layonsari is inspired by Geguritan Jayaprana which comes from North Bali. This work tells the story of the love tragedy between Jayaprana and Layonsari. The drama begins when Raja Kalianget falls in love with Layonsari, Jayaprana's wife, and wants to marry her. The story in this opera ends tragically when all are killed and all destroyed. The uniqueness of the story is on the atmosphere of sadness in the beginning when an outbreak of disease occurs, and it ends with the sadness too when all is destroyed. The Jayaprana and Layonsari stories are full of moral messages. In the creating process of Nyanyian Layonsari, the idioms of Balinese music were used, namely, kotekan, beetle sound effect “ngisep”, and “kajar” sound effect. In addition to Balinese musical idioms, nine-note synthetic scales were also used which were based on and inspired by the pelog and slendro harmony. The elements of music were processed based on the understanding of Western music theories. Through this staging opera, it is expected to convey the messages contained in the story and can be understood by the audiences. Besides, the creation of Nyanyian Layonsari Opera can bring a distinctive musical style and can be used as a development in the field of music composition in Indonesia, and can be raised in international forums.  Penciptaan Opera Nyanyian Layonsari ABSTRAK Penciptaan Nyanyian Layonsari dimulai dari kegelisahan penulis sebagai musisi. Dalam perjalanannya sebagai pemain cello dan kondakter, banyak memainkan karya-karya yang berasal dari komponis Klasik Barat. Dalam konser-konser jarang sekali memainkan bahkan bisa dikatakan tidak pernah memainkan karya yang berasal dari komponis Indonesia. Dari pengalaman itu penulis ingin membuat komposisi yang memiliki ciri yang khas. Nyanyian Layonsari bersumber dari Geguritan Jayaprana yang berasal dari Bali Utara. Karya ini mengisahkan tentang tragedi cinta antara Jayaprana dan Layonsari. Tragedi dimulai ketika Raja Kalianget jatuh cinta kepada Layonsari, istri Jayaprana dan ingin memilikinya. Kisah dalam opera ini berakhir tragis ketika semua saling bunuh dan semua musnah. Keunikan dari cerita ini adalah, diawali dengan suasana kesedihan, katika terjadi wabah penyakit dan berakhir dengan kesedihan pula, ketika semua musnah. Kisah Jayaprana dan Layonsari sarat mengandung pesan-pesan moral. Dalam penggarapan Nyanyian Layonsari digunakan idiom-idiom musik Bali yaitu, kotekan, efek suara kumbang ngisep, dan efek suara kajar. Selain idiom musik Bali, digunakan juga tangga-nada sintetis Sembilan-nada yang bersumber dan terinspirasi dari laras pelog dan laras slendro. Unsurunsur musik diolah berdasarkan pemahaman teori musik Barat. Melalui pementasan Opera ini diharapkan dapat menyampaikan pesan yang terkandung di dalam cerita dan bisa dimengerti oleh audiens. Selain itu penciptaan Opera Nyanyian Layonsari ini dapat memunculkan gaya musikal yang khas dan dapat digunakan sebagai pengembangan bidang komposisi musik di Indonesia dan dapat dimunculkan di forum internasional.

scholarly journals A Computational Cognitive Model for the Analysis and Generation of Voice Leadings

2019 ◽  
Author(s):  
Peter M. C. Harrison ◽  
Marcus Thomas Pearce
Keyword(s):  
Auditory Perception ◽  
Music Composition ◽  
Cognitive Model ◽  
R Package ◽  
Western Music ◽  
Voice Leading ◽  
Common Task ◽  
Feature Based ◽  
Musical Genres

Voice leading is a common task in Western music composition whose conventions are consistent with fundamental principles of auditory perception. Here we introduce a computational cognitive model of voice leading, intended both for analyzing voice-leading practices within encoded musical corpora and for generating new voice leadings for unseen chord sequences. This model is feature-based, quantifying the desirability of a given voice leading on the basis of different features derived from Huron’s (2001) perceptual account of voice leading. We use the model to analyze a corpus of 370 chorale harmonizations by J. S. Bach, and demonstrate the model’s application to the voicing of harmonic progressions in different musical genres. The model is implemented in a new R package, “voicer”, which we release alongside this paper.

Rule-Based and Genetic Algorithm for Automatic Gamelan Music Composition

2017 ◽  
Vol 10 (3) ◽  
pp. 202
Author(s):  
Khafiizh Hastuti ◽  
Azhari Azhari ◽  
Aina Musdholifah ◽  
Rahayu Supanggah
Keyword(s):  
Genetic Algorithm ◽  
Music Composition ◽  
Rule Based

Babbitt’s Beguiling Surfaces, Improvised Inside; Part III: Opportunities

2019 ◽  
Vol 5 (3) ◽  
Author(s):  
Joshua Banks Mailman
Keyword(s):  
Music Composition ◽  
Jazz Improvisation ◽  
The Third ◽  
Partial Orderings ◽  
Compositional Structures ◽  
Surface Patterns ◽  
Inside Part ◽  
Musical Activities

Babbitt’s relatively early composition Semi-Simple Variations (1956) presents intriguing surface patterns that are not determined by its pre-compositional plan, but rather result from subsequent “improvised” decisions that are strategic. This video (the third of a three-part video essay) considers Babbitt’s own conversational pronouncements (in radio interviews) together with some particulars of his life-long musical activities, that together suggest uncanny affiliations to jazz improvisation. As a result of Babbitt’s creative reconceptualizing of planning and spontaneity in music, his pre-compositional structures (partial orderings) fit in an unexpected way into (or reformulate) the ecosystem relating music composition to the physical means of its performance.

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