Introduction

The study of music in the political and religious contexts of Third Republic France poses challenges that center around the relationship between the Catholic Church and the French Republic and the role of the musician therein. This introduction frames how the political and religious landscapes of the Third Republic have been discussed in the past and how cultural products shaped and were shaped by their social environment. Finally, it sets up the book’s ultimate move away from the simplistic notion that Church and State were separated by irreconcilable differences by introducing key players in the Republic’s musical transformation of Catholicism into an acceptable and desirable facet of its national and international identity.

Coda

This coda turns to “Total Praise,” the song for which Smallwood is best known, mining the first and the most recent recordings of this song in order to think about the category of song itself. Since its recording, “Total Praise” has acquired a vamp where there was not one before. The vamp that emerges during the first two lines of the song’s B section crystallizes both the sense of ecstatic possibility already present between this song’s chimerical conclusion and its well-known reprise, and the convention of the vamp itself. While on the night of its recording in 1996, the night with which the book begins, “Total Praise” was a musical extension of the choral prelude and the only song recorded without an extensive vamp, its current place at the end of most Smallwood concert sets, and of many more gospel services, makes its musical transformation an ideal site from which to reflect on the relationship between song and liturgy, and to theorize the ontological nexus of song, performance, and recording.

Improvisation and Value in Rock, 1966

The mid-1960s has figured as a central period in the historiography of popular music, but the role of improvisation has been little discussed. This article argues that issues of improvisation and value are crucial to understanding the emergence of a high-low split within popular music, a division that figures prominently in criticism and fan discourse up to the present day. This new stratification within popular music made it possible for rock to acquire critical prestige relative to other popular music genres. The formation of rock also relied on its association with a primarily white, male, middle-class demographic. This article demonstrates that rock's prestige rests simultaneously on maintaining this narrow demographic profile while locating aesthetic and spiritual value in musical practices coming from elsewhere (in terms of geography, race, or cultural hierarchy): blues, Indian classical music, jazz. The socio-musical transformation in which improvisation played such an important role is explored through a survey of recordings and an analysis of the development of rock criticism in 1966, the year in which a new constellation of aesthetics, politics, and musical style crystallized.

The music of Arabic poetry and moving beyond the prosodic measures

The music of poetry is one of the most prominent particularities which distinguishes the poetry from other types of speech. It also has been considered under different titles, by many literaties, just because the poetry would always need the music. A question would arise in here: is it possible to restrict the music of Arabic poetry only to prosodic rhythms and limit it to prosody, or could the poet just compose a poetry beyond the prosodic measures while still has its own music? This article tries to answer this question through inspecting some instances of poets works. These instances include: elegy or qasida_ muwashshah - zajal-band and blank verse. We can find the fact that the musical diversity can be achieved both inside and outside of the prosodic circles. It is also possible to synthesize prosodic meters with each other in an elegy to reach the purpose and experience novel meters called new-found meters. As the result of these experiences we can rely on the music of Taf’ilah (the formative basis of a verse) and by transforming the music of the poetry enrich the poetry songs. We shall notice this musical transformation in Arabic poetry which has passed through many changes from past times up to now. This is an important and necessary matter for any researcher who deals with any aspects of the poetry research and poetic cases.

TRANSFORMATION OF DOL MUSIC IN THE MUSICALITY OF TABOT RITUAL, BENGKULU CITY

Originally, Dol music was used as means of religious musicality to spread Moslem religion in Bengkulu. As time goes by, through the process of acculturation and assimilation, Dol music becomes a sacred musicality to accompany the ritual procession of Tabot, Sipai tribe (Tabot family) in Bengkulu city. Globalization and the interference of power bring the change complexity of Dol musicality as Tabot ritual music in the socio-culture of Bengkulu society. The aim of this research is to understand and explain the occurrence of Dol music transformation and its implication to the socio-cultural system in Bengkulu society. The approach implemented is cultural studies with qualitative analysis technique. It is applied critical and popular culture theories to uncover the focus of the problem in this study. The result shows that Dol music undergoes musical transformation as Tabot ritual music into a secular and profane music, resulting in the expansion of function and form. Therefore, Dol music is legitimized into traditional music icon of Bengkulu, in a wider and freer scale, shifting the Tabot’s popularity and sacred rituals as the “Heritage of the World in The Trust” of Bengkulu’s folk art culture. This has implications for all socio-cultural joints of the people in Bengkulu city, triggering a qualitative change in socio-cultural evolution to the form of divergence. It means that Dol music was originally a sacred/ religious music tradition, developed following the increasingly complex transformation as a mass culture in Bengkulu.

Transformasi Musik Arumba: Wujud Hibriditas Yang Meng-global

ABSTRACT This study focused on the transformation of Arumba music caused by the urge of want to be more acceptable and acknowledged its existence by the current environment. It is influenced by it popularity among Bandung Society. It needs to be observed because there are still limited numbers of research that illustrate the journey of arumba music and it role in Bandung society. This research employed descriptive method and qualitative approach. The result shows the cultural space and personal interpretation take effect on the transformation of arumba music into an interesting music. It build up Jorgensen theory on musical transformation sketch. It can be concluded that the arumba music transformation is reaction for seeking authenticity. Moreover, this phenomenon caused a significant effect, especially in determiining the position, image, and role of arumba music in the popular music repertoire in West Java.Keywords: Arumba, transformation, bamboo musicABSTRAKPenelitian ini difokuskan pada transformasi musik Arumba yang disebabkan oleh adanya dorongan keinginan untuk lebih dapat diterima dan diakui keberadaannya oleh lingkungan baru. Hal ini dipengaruhi oleh popularitasnya di kalangan masyarakat Bandung. Sejak kelahirannya musik Arumba dijadikan hiburan dan kemudian bergeser menjadi alat pendidikan di perguruan tinggi. Penelitian ini menjadi penting karena kondisi jumlah penelitian yang membahas perjalanan musik arumba dan perannya dalam masyarakat Bandung sangat terbatas. Penelitian ini menggunakan metode deskriptif dengan pendekatan kualitatif. Hasil penelitian ini menunjukkan bahwa ruang budaya dan interpretasi pribadi mempengaruhi transformasi yang terjadi pada musik arumba. Studi ini akan dibicarakan dalam sketsa transformasi musik Jorgensen. Dapat disimpulkan bahwa transformasi musik arumba adalah reaksi pelakunya dalam upaya mencari otentisitas musiknya. Selain itu, fenomena ini menyebabkan dampak yang cukup signifikan, terutama dalam menentukan posisi, citra, dan peran musik arumba dalam repertoar musik populer di Jawa Barat.Kata kunci: Arumba, transformasi, Bandung, musik bambu

Recollections and Reflections on Organised Sound

In this contribution to the twentieth anniversary issue of Organised Sound, I first recall the reasons for dedicating a periodical to organised sound which I mentioned in my answer to inquiries from Cambridge University Press before the journal existed. The digital era is still in its infancy and it will permit a host of new ways to organise sound. I suggest in particular the development of an intimate relationship between acoustic and digital sounds; the extension of structural notations of sound and music and their exploitation for novel musical transformation; the amplification of the use of functions and combinations of functions. I evoke some issues discussed in Organised Sound, elaborating in more detail some problematic topics: analysis and reconstruction of computer music, live electronic music performance, perception of musical sound and sensory aesthetics.