Curating Within Music Ensembles

The central question for curating innovative performances by ensembles, which connect to their moment in time and to their audiences, is deciding what to play, and why. What repertoire shall we play? Or perhaps, what shall we arrange? What should we learn and practice, and what should we commission? And underlying these questions is the wonder-filled query: Why? What is the magical combination that informs these choices? I explored these central questions via a two-hour virtual conversation with leaders of three very different ensembles. My starting point for this exploration is that music ensemble leaders are involved in a complex process of making choices in relation to the intention of their ensemble and the time and place of the performance. Even if they do not already use the word, I suggest that curating is what these ensembles are doing. In order to grasp the nature of curation, we can learn a great deal from the process as it develops within an ensemble.

Time and Ensemble Dynamics in Indeterminacy: John Cage’s Concert for Piano and Orchestra

This chapter examines ensemble dynamics and time consciousness in indeterminate music, using John Cage’s Concert for Piano and Orchestra (1957–8) as a case study. Drawing on interviews and observational studies undertaken with the experimental music ensemble Apartment House, I examine the role of temporal indeterminacy in the socio-musical interactions that characterize performance, and its implications for the musicians’ experiences. In doing so, the chapter makes a broader contribution in its consideration of the ways in which issues of authorship and authority are negotiated in such temporal interactions, and how the dynamics of these negotiations present a sociality based on a ‘separate togetherness’, whereby performers play together (out of time) with one another.

MALAY GAMELAN: PLAYING TECHNIQUES OF THE KEROMONG AND GAMBANG

Malay gamelan is a traditional music ensemble that accompanies the Joget Gamelan dance and was found in the palace of Johor-Riau, Pahang, and Terengganu in the 19th century, before disappearing in 1942. Malay Gamelan was exclusively taught in the palace orally, that is, through the process of listening, observing, memorising, and repeating; much like other classical Malay traditional arts. This study was initiated to discuss some aspects of Malay gamelan music in detail as there is little documentation regarding Malay gamelan in the academic world. Several writings on Joget Gamelan were produced based on the 1966 discovery in Terengganu and the inaugural performance in 1969 at the University of Malaya. However, attention to the different aspects of Malay gamelan music was not exhaustive. This study explores the playing techniques of keromong and gambang that were traditionally taught and passed down among Malay gamelan practitioners. A qualitative method was used in this research, whereby the earliest recordings of Malay gamelan music were analysed and interviews were conducted with informants, or also known as adiguru of Malay gamelan practitioners who studied directly with the last generation of Terengganu court musicians. The objective of this study is to 1) identify the techniques of keromong playing in Malay gamelan, and 2) identify the techniques of gambang playing in Malay gamelan. Findings from this study will provide an understanding of the musical instruments and what defines the style of Malay gamelan music, as well as become a guide for future researchers and practitioners in efforts to conserve and preserve the Malay traditional art.

Studio Production in Contemporary Vietnam

Chapter 5 examines how and why the VOV music ensembles are keeping their red music relevant in contemporary Vietnam. In the reform era, the ensembles were separated into two groups: the national or ethnic music ensemble (nhóm nhạc dân tộc), comprised of traditional instrumentalists and folk singers, and the new music ensemble (nhóm nhạc mới), which performs Vietnamese songs and instrumental music composed for choir and chamber orchestra. Drawing on fieldwork at the radio studios in Hanoi, this research provides an ethnographic account of contemporary music production processes at the station. The first case study examines how recordings by the traditional music ensemble, a versatile group of instrumentalists and folk singers, represent and reify the three major cultural regions of Vietnam. The second explores how productions by the new music ensemble, which reference the musical styles of DRV revolutionary opera, memorialize government achievements, valorize heroes of the past, and are made relevant to the contemporary political context through references to current issues such as territorial claims in the South China Sea. Rather than dismiss these musicians as political puppets, the chapter investigates their creative, pragmatic approaches to the constraints and contradictions of life in a (post)socialist state. Meanwhile, culture brokers working at these national broadcasters are leading the politicization of this intangible cultural heritage, a process they justify with the language of cultural sustainability.

Empowering ensembles

This chapter explores how membership of a music ensemble can empower participants across a range of dimensions: purpose, connections, achievement, and identity formation. In a Western context, empowerment is often linked to agency, purpose, and self-esteem. Agency and purpose are raised through the goals and educational aspects of music ensembles. Self-esteem is linked to achievement, frequently flowing during music ensemble experiences. Connection, another key aspect of empowerment, includes connections to others, the past, and lost selves. For migrants and refugees, the connection is often to a past self and a relinquished land and culture. The research studies reviewed in this chapter encompass the homeless, prisoners, migrants, refugees, and older adults. Expanding from the reviewed work, the chapter looks at historical examples to discuss how music ensembles helped Australian settler communities create their worlds and shows how findings from these historical music ensembles can inform research into music communities today.

Proposal for a Dance Performance

Proposal for a Dance Performance is an artwork for music ensemble and PowerPoint. This work aims to transform -through the use of self-referential narration- dance notation, emails, program notes and technical rides, into performing instances. The paper puts the above artwork in a dialogue with works by Hanns Eisler, Alfred Johannes and Johannes Kreidler, which use music notation as a conceptual visual tool. Furthermore, this paper discusses the role of music as a character in a play, a technique found in Samuel Becket’s work. This combination of narration and notation is being proposed as a transdisciplinary methodology for breaking fixed notions of artistic practice.

Digital Platform's: Investigations in the Application of Music Practice Learning

One of the competencies that must be possessed in the 21st century is digital literacy skills. This ability must be possessed by every student and lecturer in integrating digital platforms into learning, especially in the current pandemic era. This study aims to investigate the effectiveness of a digital platform in its application to practical courses. Researchers use google classroom as a sample of the many types of digital platforms. This type of research is descriptive qualitative using a case study approach. The object of this research were 26 active students who took music ensemble courses, while the variable being investigated was the use of google classroom in learning. Data collection was carried out by means of questionnaires, observations, and interviews. The results show that digital platforms can be used as an alternative solution to carry out online learning in the midst of a pandemic. However, it is not optimal for the music ensemble course because of several factors, including the location of the student's residence which is difficult to get a signal, material that students find difficult, the availability of their own musical instruments, and the student's ability to play music.

Applications Of Demonstrations And Drill Methods For Music Ensemble Practise In Junior High School Student In The Social Interaction Perspective

The purpose of this study was to determine the application of demonstration and drill methods to practice music skills for junior high school students in the perspective of social interaction. This research used descriptive qualitative research methods using musicology, sociology and art education approaches. The data sources used were based on the results of interviews, observations, and documentation studies. The results of the study indicated that social interaction in learning involves teachers and students. The application of the drill method in learning music ensemble material is carried out by the teacher by presenting learning material to students through repeated exercises so that students can master the subject matter and are skilled in carrying out the exercises given as a form of effectiveness in using the drill method. In practicing musical ensemble skills, the drill method makes students more organized, thorough, and sharp in memory. Social interaction in learning involves teachers and students. These interactions include ; 1) Interaction in learning, 2) teacher-student interaction, 3) student-student interaction. Interaction in learning occurs in the learning process.Teacher-student interaction occurs when students communicate with teachers. Interaction of students with students in groups of students when working on group assignments

High Notes In Hard Times: The Impact Of Ensemble Participation On The Well-Being Of 2SLGBTQ+ Musicians

This study examines the impact of participation in music ensembles such as band and choir on the well-being of two-spirit, lesbian, gay, bisexual, transgender, queer, and other nonheterosexual and cisgender (2SLGBTQ+) identified musicians. 2SLGBTQ+ musicians with ensemble experience were asked to fill out a questionnaire on their experiences and perceived impacts of their participation. Conclusions were drawn from this data using constructivist grounded theory informed by queer anti-capitalism after responses were coded and grouped into themes for thematic analysis. This study propositions music ensemble as an informal queer space as well as differing effects as result of participation over different 2SLGBTQ+ demographics. This study concludes that music ensemble functions as a means to provide relief from capitalism as it is a place where queerness can be normalized instead of commodified.

High Notes In Hard Times: The Impact Of Ensemble Participation On The Well-Being Of 2SLGBTQ+ Musicians

This study examines the impact of participation in music ensembles such as band and choir on the well-being of two-spirit, lesbian, gay, bisexual, transgender, queer, and other nonheterosexual and cisgender (2SLGBTQ+) identified musicians. 2SLGBTQ+ musicians with ensemble experience were asked to fill out a questionnaire on their experiences and perceived impacts of their participation. Conclusions were drawn from this data using constructivist grounded theory informed by queer anti-capitalism after responses were coded and grouped into themes for thematic analysis. This study propositions music ensemble as an informal queer space as well as differing effects as result of participation over different 2SLGBTQ+ demographics. This study concludes that music ensemble functions as a means to provide relief from capitalism as it is a place where queerness can be normalized instead of commodified.