2003 Yearbook
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Danses Et Musiques Khmères
DANSE CLASSIQUE KHMÈRE SAKOU SAKOU SAMOTH bNÑaKarGgþr Samoth Le présent ouvrage retrace l’historique de Danse classique, du DANSE CLASSIQUEKHMERE Recueil folklore et de la musique khmère. Certaines oeuvres émanant de spécialistes et professionnels dans ce domaine ont été publiées Danse classique khmère au Cambodge par le passé. Ceci ayant pour but de mettre en lu- mière la culture khmère, sa danse et sa musique. Le dernier évènement dramatique qui a frappé le Cambodge pendant les trente dernières années a dénaturé l’aspect culturel du Cambodge. Cette altération pourrait s’accentuer, tenant compte du fait que l’avancée des nouvelles technologies évoluent sans cesse, au détriment du passé et de l’art classique. Les multiples efforts des Cambodgiens de France, d’Europe ou de l’étranger, leur aide permanente apportée, demeure un consi- FOLKLORE dérable appui, encourageant et poussant par conséquent, les Cambodgiens du Cambodge à ne jamais se décourager et conti- nuer à transmettre les bases de la culture khmère à leurs géné- rations futures. Cette dernière étant la culture dominante de l’Asie du sud-est. LOKHON Pour preuve, l’UNESCO a inscrit le 7 novembre 2003, le “Ballet Royal du Cambodge” sur la liste du Patrimoine oral et imma- Folklore tériel de l’Humanité, de même que le “Sbèk Thom” ou le théâtre d’ombres khmer dont les personnages du Reamker sont sculptés MUSIQUE KHMERE sur cuir, le 25 novembre 2005. C’est un immense honneur pour le peuple khmer d’être mis en lumière par l’UNESCO et de pouvoir préserver sa culture bien Lakhon menacée à nombreux égards par le passé. -
(EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard -
Abstract Part Performance, Part Lecture-Demonstration, and Part Modern Ritual, When Kumbhakar
Phuon 1 Abstract Part performance, part lecture-demonstration, and part modern ritual, When Kumbhakar Swallowed a Dead Dog is a postmodern interpretation of an episode of the Reamker, the Cambodian version of the Indian epic Ramayana. In this written thesis, I lay out the foundational material for my work, consisting of a summary of the epic’s narratives and interpretations pertaining to its structure and symbolism, as well as an overview of three major dance theatre forms in Cambodia: shadow puppet theatre (sbaek thom), all-male masked dance-theatre (lkhon khol), and classical court dance (robam kbach boran). An account of the methodology employed and creative process follows, in which I include influences related to the contemporary climate change crisis, black and white cinema, and my experiences studying Cambodian dance theater forms. I conclude with a description and a short analysis of the performance, its impact on audiences, and relevance for my current choreographic practice. Phuon 2 MONTCLAIR STATE UNIVERSITY When Kumbhakar Swallowed a Dead Dog: A Diasporic Rendering of the Reamker by Emmanuele Phuon A Master’s Thesis Submitted to the Faculty of Montclair State University In Partial Fulfillment of the Requirements For the Degree of Master of Fine Arts May 2020 College of the Arts Thesis Committee: Department of Theatre and Dance ___ Elizabeth McPherson Thesis Sponsor Apollinaire Scherr Committee Member ____ Claire Porter Committee Member Phuon 3 When Kumbhakar Swallowed a Dead Dog: A Diasporic Rendering of the Reamker A THESIS Submitted in partial fulfillment of the requirements For the degree of Master of Fine Arts by EMMANUELE PHUON Montclair State University Montclair, NJ 2020 Phuon 4 Copyright © 2020 by Emmanuele Phuon. -
Reffiee@@@ Pengamh Reklor Lsl Padangpanjang ?Ol Dr
reffiEE@@@ Pengamh Reklor lsl Padangpanjang ?ol Dr. Mllrdi Bahar, S.Kai, M Hum. Pen&ggung Jard/Kopda PUSTNDOK Yumidi, S.Sn., M Sn. Pinpinan Redaksikerua Penynntitrg Edisar, S.Sn, M.Hum. Ds-IHdit?rlMrSnf 'l^ @I!@l14 a I-E.h .-P-""il -- rl-- - H, n: llslIPaddnmarEj prrdone\,a) +.r+of oi.rvi"Dr.Mohtain;O-m ?ii1ft-*!6 I D n1Lr"i,,-hh:-p.}oirs:liil*ilLd;,,i!Efit; kib-d u.-E**w" iir,,v..rrVd dy.'d, b, D"',fiH,ait iaF{ " rram*a ",6r n* iiEIffi ,Isr-li-rsr,y"iiii'liliI l*."r Prol Dr. Eodaro,!rJir.i.r*;Dr---;;e;""r)"1(*r.1i,t 3-rtlriFati, 5.(411VErn:iSTSItB;lrd!, 8-l1do$L) v2r:Y-^r1P' K*,i:ri ndr, l-.-s6li-. M.ri, Ea Ohavianus, S.Sn.. M.S.. Arga Budaya. S.Sn., M.Pd. llhm SuSesli, S.Kom. Caraian: k i/Materi Jumal adalah t n&.lun g i awab penu I h. PENCANIARREDAKSI .ff.tPnEt1,t rV/" Juarat llin!Pengctahuandan KaryaSeni tnenuSeni irdonesid (l5l) Padanspanjans merIpxkan sebuah rempat pengungkapanpiknan t]kjran pemcfiari scni sccrra ,lrnrah, blik kdian bidaig keilnNan maupun bidans karya so.t Tenlu s.ja kchadnan frSPXa,t/jE 7 dihldapan pembaca ,ka. mcmberi Mi rc6endnt untuk informasi lcntang berbasai prcblemlik scm yans xkrrt. Dunia krcativitas bida.gkescnianscca6berkelarjutanb.rkembnsdensmbajk,m!!!nbanrrakyurgrid,k'nendapalkar lahudengahpqkembangan itr. Beyak kdrya karya seniyangnenusenruhan{c.lur kririk dan sardn secara ilnriah, tapi karena mcdranya yang sangal terbatas, pada akhimya perknrbangan kitik scni kurdg bc*c'nbars. Aaaknya ].riP,(Es/.ttN/ sat.h sarL rc'npaL Pada kesenrpatan ini ffyRf.y.tE V/ Vol. -
03-Pipat Tradi-Pipat N
Fine Arts International Journal, Srinakharinwirot University Volume 18, No. 1, January - June 2014 Pipat Traditions in Music Culture in the Mekong River Basin: Practice and Phenomena in the Early 21st Century Manop Wisuttipat Faculty of Fine Arts, Srinakharinwirot University, Bangkok, Thailand Abstract “Pipat”, or “Pinpeat” in Cambodian and “Pinpat” in Lao, is a specific word used to define a tradi- tional ensemble from the musical culture of the three countries. The instruments in the ensemble mostly consist of melody making, punctuating instruments. Pipat music has long been used during theatrical performances, royal ceremonies and ritual functions. The compositions played are highly regarded and considered sacred. There are many common elements between the Pipat Traditions in the three countries mentioned above, for example, the instruments used in the ensemble are similar in name and physical appearance. The differences between repertoires from the different regions, while obviously recognizable by the musicians, have not been closely studied in terms of their interrelationships. Research needs to be under- taken to find out and understand more about this shared tradition. The results would serve as the agent that links their present interrelationship to their history and finally their individual origins. The purposes of this research were: 1. To clarify and explain the phenomena of the contemporary Pipat traditions in the three countries. 2. To interpret the role and status of the contemporary Pipat traditions in the society in the three countries. 3. To find out the interrelationships between the Pipat traditions in the region from the point of view of instruments, repertoires, theories, and performance practices. -
03-Pipat Tradi-Pipat N
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Srinakharinwirot University: SWU e-Journals System Fine Arts International Journal, Srinakharinwirot University Volume 18, No. 1, January - June 2014 Pipat Traditions in Music Culture in the Mekong River Basin: Practice and Phenomena in the Early 21st Century Manop Wisuttipat Faculty of Fine Arts, Srinakharinwirot University, Bangkok, Thailand Abstract “Pipat”, or “Pinpeat” in Cambodian and “Pinpat” in Lao, is a specific word used to define a tradi- tional ensemble from the musical culture of the three countries. The instruments in the ensemble mostly consist of melody making, punctuating instruments. Pipat music has long been used during theatrical performances, royal ceremonies and ritual functions. The compositions played are highly regarded and considered sacred. There are many common elements between the Pipat Traditions in the three countries mentioned above, for example, the instruments used in the ensemble are similar in name and physical appearance. The differences between repertoires from the different regions, while obviously recognizable by the musicians, have not been closely studied in terms of their interrelationships. Research needs to be under- taken to find out and understand more about this shared tradition. The results would serve as the agent that links their present interrelationship to their history and finally their individual origins. The purposes of this research were: 1. To clarify and explain the phenomena of the contemporary Pipat traditions in the three countries. 2. To interpret the role and status of the contemporary Pipat traditions in the society in the three countries. 3. -
Sbek Thom in Cambodia
Author: KONG Vireak & PREAP Chanmara Coordinator: OK Sophon, VIN Laychour & HONG Makara Supported by: the UNESCO-Japanese Funds-inTrust Copy right: ©UNESCO, Ministry of Culture and Fine Arts and authors. CONTENT Foreward by Minisiter of Culture and Fine Arts........................i Foreward by UNESCO Representative in Cambodia.................ii 1. Introduction..................................................... .............1 2. Brief History of Sbek Thom in Cambodia............................7 3. Ceremonies in which Sbek Thom are performed..................13 4. Performance of Sbek Thom..............................................15 A. Stage.................................................................16 B. Music.................................................................19 C. Leather panels or Sbek.........................................21 D. Narrators............................................................22 E. Performers..........................................................23 F. Master................................................................24 G. Episodes to be performed.....................................25 H. A ritual before the performance.............................26 I. Performance........................................................28 J. Gestures and Dance Movement..............................30 5. Beliefs associated with Sbek Thom....................................33 6. Making and Storing Sbek Thom........................................35 7. Training of Sbek Thom.....................................................41 -
Cahiers D'ethnomusicologie, 9
Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 9 | 1996 Nouveaux enjeux La musique comme nécessité, la musique comme identité culturelle Les réfugiés khmers à Washington, D.C. Music as necessity, music as cultural identity. The Khmer refugees in Washington, D.C. Giovanni Giuriati Édition électronique URL : https://journals.openedition.org/ethnomusicologie/1223 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 1 décembre 1996 Pagination : 241-258 ISBN : 978-2-8257-0559-9 ISSN : 1662-372X Référence électronique Giovanni Giuriati, « La musique comme nécessité, la musique comme identité culturelle », Cahiers d’ethnomusicologie [En ligne], 9 | 1996, mis en ligne le 05 janvier 2012, consulté le 21 septembre 2021. URL : http://journals.openedition.org/ethnomusicologie/1223 Ce document a été généré automatiquement le 21 septembre 2021. Tous droits réservés La musique comme nécessité, la musique comme identité culturelle 1 La musique comme nécessité, la musique comme identité culturelle Les réfugiés khmers à Washington, D.C.1 Music as necessity, music as cultural identity. The Khmer refugees in Washington, D.C. Giovanni Giuriati 1 Ces considérations proviennent d’un séminaire organisé en janvier 1996 par la Scuola Interculturale di Musica de Venise avec pour titre « Anthropologie, ethnologie, musicologie générale »2. Comme base pour la discussion du séminaire vénitien, nous utilisâmes un texte de Bernard Lortat-Jacob, Miriam Olsen et Jean-Michel Beaudet, préparé pour -
PORTFOLIO of COMPOSITIONS SUBMITTED for the DEGREE of Phd
Edinbugh University School of Arts, Culture & Environment PORTFOLIO OF COMPOSITIONS SUBMITTED FOR THE DEGREE OF PhD "An exploration of musical composition and sound production in the context of cross-disciplinary performance" Jean-David Caillouet 5th October 2005 i Included Materials: 1." CD 74'00 2001 Angkor Journey" Audio Cambodian Soundscape 2. "The Road" DVD 50'00 2001 PAL Live Multimedia Performance 3."Who Owns Jack Kerouac?" DVD 120" 2002 PAL Feature Documentary Film 40'30 2002 4. "Who Owns Jack Kerouac?' CD Audio Original Feature Film Soundtrack 5. "Show" DVD 15'00 2004 PAL Sound piece for Choreography 6."H20" DVD 34'00 2005 PAL Mozaic for Projector, Musicians and 6 Speakers 7. "Animations 2001-2002" DVD 30'00 2001 PAL 2002 3 Short Animation films 8. "Collaborations/Productions 2001-2004" 2001 CDAudio 36 30 2004 Various songs and sound Projects 2 Introduction Growing up in a non-musical family, the type of music I first encountered was popular music. My early interest in music therefore came from listening to recordings where the quality of the sound forms an essential part of the listening experience. I was also fascinated by the sounds and music I heard in the cinema. As my curiosity developed I gradually became more interested in many other areas of music making and musical styles, experimenting with sounds at any given opportunity. 1 embarked on this PhD in October 2000 having just completed an Honours Degree in Music at Dartington College of Arts, Devon. During that period of study, I became acquainted with various studio techniques, using both analogue and digital equipment. -
Cahiers D'ethnomusicologie, 9
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenEdition Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 9 | 1996 Nouveaux enjeux La musique comme nécessité, la musique comme identité culturelle Les réfugiés khmers à Washington, D.C. Music as necessity, music as cultural identity. The Khmer refugees in Washington, D.C. Giovanni Giuriati Édition électronique URL : http://journals.openedition.org/ethnomusicologie/1223 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 1 décembre 1996 Pagination : 241-258 ISBN : 978-2-8257-0559-9 ISSN : 1662-372X Référence électronique Giovanni Giuriati, « La musique comme nécessité, la musique comme identité culturelle », Cahiers d’ethnomusicologie [En ligne], 9 | 1996, mis en ligne le 05 janvier 2012, consulté le 30 avril 2019. URL : http://journals.openedition.org/ethnomusicologie/1223 Ce document a été généré automatiquement le 30 avril 2019. Tous droits réservés La musique comme nécessité, la musique comme identité culturelle 1 La musique comme nécessité, la musique comme identité culturelle Les réfugiés khmers à Washington, D.C.1 Music as necessity, music as cultural identity. The Khmer refugees in Washington, D.C. Giovanni Giuriati 1 Ces considérations proviennent d’un séminaire organisé en janvier 1996 par la Scuola Interculturale di Musica de Venise avec pour titre « Anthropologie, ethnologie, musicologie générale »2. Comme base pour la discussion du séminaire vénitien, nous utilisâmes un texte de Bernard Lortat-Jacob, Miriam Olsen et Jean-Michel Beaudet, préparé pour un congrès sur les rapports entre ethnomusicologie et anthropologie3 ; dans celui-ci l’étude de la différentiation sociale prenait une importance particulière. -
The Living Tradition of Khmer Music and Dance-Drama in a Washington, Dc Community
ABSTRACT Title of dissertation: SOUNDING THE SPIRIT OF CAMBODIA: THE LIVING TRADITION OF KHMER MUSIC AND DANCE-DRAMA IN A WASHINGTON, DC COMMUNITY Joanna Theresa Pecore, Doctor of Philosophy, 2004 Dissertation directed by: Professor Carol E. Robertson School of Music Since the Khmer Rouge takeover of Cambodia in 1975, the desire to preserve, reconstruct, and document Khmer performing arts has motivated many important projects that aim to strengthen these traditions worldwide. These projects typically focus on dance and promote the notion that authenticity is linked with ethnicity and the geographical designation, Cambodia. This presentation stands in stark contrast to the reality of the devoted activities of living artists who keep these traditions alive across the globe. Additionally, Khmer music usually exists as an audible yet forgotten soundtrack to these projects. When it is recognized, listings of instruments, descriptions of musical structure, names of ensemble types, and pages of notation (that many Khmer musicians themselves cannot read) frequently overshadow its human dimensions. Major chasms divide current scholarship from musical practice. To help bridge these gaps, this dissertation takes readers on a visit to a community that lives and breathes Khmer music and dance-drama today in the Washington, DC area. It explores the experience of more than forty individuals who participate in the activities of Cambodian American Heritage in Virginia and the Cambodian Buddhist Society in Maryland. Ethnographic “sound-spheres”—constructed -
CARTE OUVRAGES:Mise En Page 1.Qxd
Réseau routier De Phnom Penh aux chefs lieu de province Krong de Battambang : 291 km Chaîne des DangrèkPreah Vihear Samrong Anlong Vèng Krong de Siem Reap : 314 km Cheam Khsant SiemPâng Krong de Samrong : 443 km Banteay Chhmar Kg.Srâlau Krong de Stung Sèn : 169 km Chongkal Phnom KrongMlou Prey Banlung Krong de Preah Vihear : 325 km Kulen Peah Vihear Chèb St.Srèng Bârkeo Krong de Pursat : 186 km BanteaySrei Kohkèr SéKong Poïpet Sisophon SéSanSrèPork Lumphat Krong de Kampong Chhnang : 91 km Krarlanh ANGKOR Preah Khan Stung Trèng Malaï Krong de Kampong Cham : 124 km SiemReap Krong de Kratié : 340 km Sampevlun Battambang Stung Sèn Krong de Stung Trèng : 481 km Prasat Krong de Banlung : 583 km Tonlé Sap SrèChès SrèSangkum Mékong 305 PaïlinMassif des cardamômes Sambaur Prèk Krieng Krong de Sènmonorom : 374 km St.Maung Sambor Russei Krong Krong de Prey Vèng : 91 km Moung Russei Samlot Stung Sèn Krong de Svay Rieng : 124 km Pursat Santuk Prèk Té Sènmonorom Kratié Krong de Chbar Môn : 48 km Krârkor Krong de Daun Kèv : 78 km Baribaur Phnom PrèkChhlong Chhlong Krong de Kampot : 148 km Kg.Chhnang CheungPrey Veal Vèng Kravanh Krong de Khémarakphoumin : 350 km KgCham Snoul Skun Krong de Preah Sihanouk : 226 km Krong de Kèp : 174 km K.chang Phnom Mémot Odong Bokor : 190 km Khmémarak Aural K.kut CHAMYEAM Prèk PHOMTnot PENH cours d’eau Kirirom : 117 km PhouminvilleThârBang ChbarMôn Prey VèngTonléToch route nationale K.Kong Krong de Sisophon : 371 km chef lieu de province Takhmau Krong de Takhmau : 19 km Neak Luong SvayRieng limite