DOCSLIB.ORG

Schooltime Study Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Schooltime Study Guide 2011–2012 SEASON SchoolTime Study Guide Cambodia’s Khmer Arts Ensemble The Lives of Giants Monday, October 3, 2011 at 11 a.m. Zellerbach Hall, University of California, Berkeley Welcome to SchoolTime On Monday, October 3 at 11am, your class will attend a performance of Cambodia’s Khmer Arts Ensemble at Cal Performances’ Zellerbach Hall. Cambodia’s Khmer Arts Ensemble is renowned for performing dazzling, powerful works that dramatically expand the repertory of Cambodian dance. In The Lives of Giants, the company of 36 dancers, instrumentalists, and singers combine gestural dance, traditional music and spectacular costumes and staging to bring to life the ancient tale of a power-drunk and vengeful giant who wreaks havoc in the kingdom of heaven.. Using This Study Guide You can use this study guide to engage your students and enrich their Cal Performances field trip. Before attending the performance, we encourage you to: • Copy the Student Resource Sheet on pages 2 & 3 and give it to your students several days before the show. • Discuss the information on pages 4-6 About the Performance & Artists with your students. • Read to your students from About the Art Form on pages 7-10 and About Cambodia on pages 11-14. • Engage your students in two or more Activities on pages 15 & 16. • Reflect with your students by asking them Guiding Questions, found on pages 2, 4, 7 and 11. • Immerse students further into the subject matter and art form by using the Additional Resources on pages 16-17. At the performance: Your class can actively participate during the performance by: • Listening carefully to the rhythms, melodies and harmonies of the music • Observing how the dancers tell a story and express ideas and emotions through their movements • Thinking about the culture, traditions and history expressed through the dance and music • Marveling at the skill of the dancers, musicians and singers • Reflecting on the sounds, sights, and performance skills you experience at the theater. We look forward to seeing you at SchoolTime! SchoolTime Cambodia’s Khmer Arts Ensemble | Table of Contents 1. Theater Etiquette 1 2. Student Resource Sheet 2 3. About the Performance and the Artists 4 4. About the Art Form 7 5. About Cambodia 11 6. Learning Activities & Resources 15 7. California State Standards 19 About SchoolTime 19 | SchoolTime Cambodia’s Khmer Arts Ensemble 1 Theater Etiquette Be prepared and arrive early. Ideally you should arrive at the theater 30 to 45 minutes before the show. Allow for travel time and parking, and plan to be in your seats at least 15 minutes before the performance begins. Be aware and remain quiet. The theater is a “live” space—you can hear the performers easily, but they can also hear you, and you can hear other audience members, too! Even the smallest sounds, like rustling papers and whispering, can be heard throughout the theater, so it’s best to stay quiet so that everyone can enjoy the performance without distractions. The international sign for “Quiet Please” is to silently raise your index finger to your lips. Show appreciation by applauding. Applause is the best way to show your enthusiasm and appreciation. Performers return their appreciation for your attention by bowing to the audience at the end of the show. It is always appropriate to applaud at the end of a performance, and it is customary to continue clapping until the curtain comes down or the house lights come up. Participate by responding to the action onstage. Sometimes during a performance, you may respond by laughing, crying or sighing. By all means, feel free to do so! Appreciation can be shown in many different ways, depending upon the art form. For instance, an audience attending a string quartet performance will sit very quietly, while the audience at a gospel concert may be inspired to participate by clapping and shouting. Concentrate to help the performers. These artists use concentration to focus their energy while on stage. If the audience is focused while watching the performance, they feel supported and are able to do their best work. They can feel that you are with them! Please note: Backpacks and lunches are not permitted in the theater. Bags will be provided for lobby storage in the event that you bring these with you. There is absolutely no food or drink permitted in the seating areas. Recording devices of any kind, including cameras, cannot be used during performances. Please remember to turn off your cell phone. SchoolTime Cambodia’s Khmer Arts Ensemble | 1 Student Resource Sheet 2 Cambodia’s Khmer Arts Ensemble Questions to Think About During the Performance • What happens in The Lives of Giants? • How do the performers tell the story of the dance? • How did the Khmer Rouge’s rule affect Cambodia? What You’ll See On Monday, October 3, your class will The angels ask the king for help, but he runs attend a performance by Cambodia’s Khmer away, afraid for his own life. The king’s wife, Uma Arts Ensemble. This troupe, led by Sophiline goes to the god Visnu for advice. When Visnu says Cheam Shapiro, performs new works and classic the giant will have to be killed, Uma disagrees, Cambodian dance pieces, set to traditional saying all the giant needs is to discover his kindness Cambodian music. At SchoolTime, the 36-member again, then he’ll stop being violent. Visnu agrees to troupe will perform The Lives of Giants, a story let Uma try her plan, but warns that he’ll step in if drawn from the Reamker, the Cambodian version it doesn’t work. of India’s ancient epic the Ramayana. Uma dances for giant, and the beauty of her performance soon calms him. But as he relaxes and The Story of The Lives of Giants joins Uma in her dance, Visnu becomes impatient A giant who lives in a heavenly kingdom and forces the giant to point his magic finger at has been teased since he was little by a group of himself. The giant rages that he will return in another mischievous angels. Tired of being bullied, he asks life to get his revenge. Then, he falls into Uma’s arms the king for a way to protect himself. The king feels and dies. Seeing more destruction to come, Uma sorry for the giant, and although his wife warns him mourns that violence has won over compassion. not to, the king gives the giant a magic finger with which he can defend himself. At first, the giant is Cambodian Dance unsure about using his magic finger. But when the Traditional Cambodian dance began in the angels start knocking him on the head, he points country’s royal courts. Classical dance centers his finger at them and breaks them into pieces. around tales of gods and goddesses, folk myths or Soon, he goes wild with his new power, destroying stories of royal characters, and were performed as the heavenly kingdom. a way to call on the gods, or give honor to royalty. 2 | Dancers wear elaborate costumes decorated with sequins and semi-precious gems as well as gold headdresses, bracelets and anklets. They use stylized movements and gestures to help tell the story. Hand gestures have clear meanings, some represent items from nature, like fruit, flowers, and leaves, some show thoughts or emotions. A pinpeat ensemble of musicians accompanies the dance, with singers voicing the characters’ words and thoughts. Cambodia Thailand, Laos and Vietnam border Cambodia, as does the Gulf of Thailand on the west coast. Cambodia’s climate is tropical. The rainy monsoon season lasts from May to November; it is dry from December to April. The terrain consists mostly of low, flat plains and mountains in the southwest and north. Phnum Aoral is the highest point. Southeast Asia’s great river, the Mekong, runs through the center of the country and is called Cambodia’s History Tonlé Thom (“Great River”) by Cambodians. Forests The area that is now Cambodia was the and woodlands account for 66% of the land; only center of the Khmer Kingdom of Angkor, a about 13% is farmland. Cambodia is slightly smaller powerful force in Southeast Asia from about than Oklahoma. the 9th to 15th centuries. Cambodia was a Cambodia’s capital, Phnom Penh (pronounced French colony from 1863 to 1953, but gained Nohm Pen) lies on the banks of the Mekong. The its independence in 1953, and entered a short city of Siem Reap (pronounced See-am Reeb) period of peace and prosperity. However, by lies at the north end of the Tonlé Sap lake and the late 1960s, Cambodian was drawn into the is the gateway to Angkor Wat (meaning “capital Vietnam war. In 1975, communist forces known monastery”), the ancient temple complex built as the Khmer Rouge captured Phnom Penh and in the 12th century. Angkor Wat is Cambodia’s emptied cities and towns. Over one million people best-known tourist attraction and appears on the forced from their homes were executed or died country’s flag. The temple is known for its beautiful from hardships. The Khmer Rouge believed that architecture and reliefs. Cambodians needed to return to a simple, farming way of life, so they targeted people they felt were elite – especially teachers, writers, artists and performers. After years of struggle, in 1993, Cambodia held general elections and restored a king to the throne. Today, traditional dance and arts are making a strong comeback, taking their place once again at the center of Cambodian culture. SchoolTime Cambodia’s Khmer Arts Ensemble | 3 About the Performance & Artists Cambodia’s Khmer Arts Ensemble 3 Circus Oz Guiding Questions: ♦ Describe what you might experience at a Khmer Arts Ensemble performance.
Load more

Recommended publications
  • University of California Santa Cruz the Vietnamese Đàn
    UNIVERSITY OF CALIFORNIA SANTA CRUZ THE VIETNAMESE ĐÀN BẦU: A CULTURAL HISTORY OF AN INSTRUMENT IN DIASPORA A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by LISA BEEBE June 2017 The dissertation of Lisa Beebe is approved: _________________________________________________ Professor Tanya Merchant, Chair _________________________________________________ Professor Dard Neuman _________________________________________________ Jason Gibbs, PhD _____________________________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents List of Figures .............................................................................................................................................. v Chapter One. Introduction ..................................................................................................................... 1 Geography: Vietnam ............................................................................................................................. 6 Historical and Political Context .................................................................................................... 10 Literature Review .............................................................................................................................. 17 Vietnamese Scholarship .............................................................................................................. 17 English Language Literature on Vietnamese Music
    [Show full text]
  • Culture Teatrali
    Culture Teatrali Studi, interventi e scritture sullo spettacolo 25, Annale 2016 Culture Teatrali SOMMARIO Studi, interventi e scritture sullo spettacolo Annali fondati e diretti da Marco De Marinis Nuova serie LA REGIA IN ITALIA, OGGI n. 25 – 2016 PER LUCA RONCONI 7 Claudio Longhi Direzione: Marco De Marinis Comitato Scientifico: Georges Banu (Université de la Sorbonne Nouvelle, Paris III); «L’unico responsabile sono io»? Josette Féral (Université de la Sorbonne Nouvelle, Paris III); Helga Finter (Justus Appunti di regia, ricordando Luca Ronconi (quasi un’introduzione) Liebig - Universität Giessen); Raimondo Guarino (Università di Roma III); Freddie 41 Luca Ronconi Rokem (Tel Aviv University); Nicola Savarese (Università di Roma III); Richard Il mio Teatro Schechner (New York University - Tisch School). Redazione: Fabio Acca, Laura Budriesi, Roberta Ferraresi, Claudio Longhi (resp.), 52 Mirella Schino Silvia Mei, Enrico Pitozzi. C/o Dipartimento delle Arti - Università degli Studi di Teatro come bene comune. La regia al suo nascere e il Novecento Bologna, via Barberia 4, 40123 Bologna. 66 Marco De Marinis Regia e post-regia: dalla messa in scena all’opera-contenitore Contatti online rivista: www.cultureteatrali.org - [email protected] 79 Lorenzo Mango Direttore responsabile: Marco De Marinis La regia dopo la regia. Tre variazioni sul tema 94 Enrico Pitozzi Peer review: la pubblicazione di un contributo su «Culture Teatrali» comporta il pas- Comporre secondo la logica del corpo: saggio attraverso un sistema di peer review affidato al comitato scientifico e alla redazio- un affresco della scena coreografica italiana ne. È in corso di adozione il sistema di valutazione esterna double blind peer review.
    [Show full text]
  • THE KHMER INSCRIPTIONS of TENASSERIM : a REINTERPRETATION by Michael Vickery
    THE KHMER INSCRIPTIONS OF TENASSERIM : A REINTERPRETATION by Michael Vickery These four short inscriptions were discovered in 1954 and were published in 1965 by Prof. George Coedes who interpreted them as diplomas conferring rank or titles. ' They are dated 1384-1388 s·aka corresponding to 1462-1466 A.D., and all of them contain the titles, in full or in part, of the king who was responsible for them. In Coedes' opinion these titles cannot refer to the king ruling at Ayutthaya because ~t that time the ruler was Paramatrai1okanatha, and in any case, according to Coedes, the Khmer language was unlikely to have been used for Ayutthayan inscriptions, "carle Cambodge et sa langue n'avaient aucune raison de jouir d'un pareil prestige". 2 He concluded that the Tenasserim inscriptions must have been due to a Cambodian prince and explained his presence at Tenasserim by a Thai invasion of Cambodia during which t wo of that country's princes were taken to Ayutthaya. 3 Further evidence supporting this view was the fact that the royal title in the Tenasserim inscriptions, according to Coedes, is "presque identique" to tba t of the Khmer king who had the bas-reliefs of Angkor Vat completed in the period between 1546 and 1564. 4 Since then Prof. 0 . Wolters has written about the Cambodian chronicles of this period and has accepted these inscriptions as proof of Notes Transcription : For citations from inscriptions and pre-modern documents an d for the names of archeological sites I have used the system based on the Sanskrit value of the letters of the Thai and Cambodian alphabets as described, fo r T hai , by Coedes in Pra.chum Uwm.' l< sayam , Bangkok, 2467 ( 1924).
    [Show full text]
  • A History of Siamese Music Reconstructed from Western Documents 1505-1932
    A HISTORY OF SIAMESE MUSIC RECONSTRUCTED FROM WESTERN DOCUMENTS 1505-1932 This content downloaded from 96.9.90.37 on Thu, 04 Feb 2021 07:36:11 UTC All use subject to https://about.jstor.org/terms Introduction The writing of music history, the chief activity of the musicologist, depends almost entirely on the existence of written documents. Historical studies of various musics of the world have appeared wherever there are such documents: Europe, China, Japan, Korea, India, and in the Islamic cultural area of Western Asia and North Africa. Mainland Southeast Asia, however, has remained much of a musico-historical void since little has remained besides oral traditions and a few stone carvings, although Vietnamese music is an exception to this statement. The fact that these countries have so few trained musicologists also contributes to the lack of research. In the case of the Kingdom of Thailand, known before 1932 as Siam, little has been attempted in the way of music history in languages other than Thai, and those in Thai, also not plentiful, remain unknown to the outside world.l Only the European-trained Prince Damrong has attempted a comprehensive history, but it is based as much on tradition and conjecture as on concrete evidence and is besides quite brief. David Morton's classic study of Thai traditional music, The Traditional Music of Thailand, includes some eighteen pages of history, mostly based on oral traditions, conjecture, circumstantial evidence from neighboring musical cultures (Cambodia, China, and India), and some from the same documents used in this study. At least three reasons can be given for the lack of historical materials originating in Thailand.
    [Show full text]
  • Khmer Arts Ensemble (In Order of Appearance) the Lives of Giants Akaeng Khameaso (Child) Chea Socheata Uma Keo Kunthearom
    CAL PERFORMANCES PRESENTS CAST Sunday, October 2, 2011, 3pm The Lives of Giants Zellerbach Hall CAST Khmer Arts Ensemble (in order of appearance) The Lives of Giants Akaeng Khameaso (child) Chea Socheata Uma Keo Kunthearom Tevabot (male angels) Kong Bonich, Lim Chanboramy, Sao Phirom, Sao Somaly Tep Thida (female angels) Long Chantheary, Mot Pharan, Pum Molyta, Som Saymalyrou Akaeng Khameaso (adult) Rin Sreyleak Preah Eyso (Shiva) Chao Socheata Preah Visnu (Vishnu) Sot Sovanndy Instrumentalists Roneat Ek (xylophone) Nil Sinoeun Sralai (quadruple-reed oboe) Touch Sarin Sampho & Skor Thom (drums) Ros Sokun Choreography, Lyrics & Music Arrangements Sophiline Cheam Shapiro Gong Thom (circle gong) Soun Phally Scenic & Lighting Designs Marcus Doshi Singer Cheam Chanthopeas Costume Designs Merrily Murray-Walsh Dresser Sam Ratha Producer Khmer Arts Costume Makers Angkor Thom Handicrafts, Iris Color Studio, John Shapiro, Executive Director Kum Sokunthea, Hout Sokleng, Sim Chanmoly, Vuthy Tailors and artists of the Khmer Touring General Manager Lisa Booth Management, Inc. Arts Ensemble Deirdre Valente, Vice President The Lives of Giants premiered in the United States on September 25, 2010, at Technical Director Robert W. Henderson Palmer Auditorium, Connecticut College, New London, Connecticut. The creation of The Lives of Giants has been made possible, in part, with support from the American Recovery Running Time 90 minutes (without intermission) and Reinvestment Act through the National Endowment for the Arts; the MAP Fund, a program of Creative Capital supported by the Doris Duke Charitable Foundation and the Rockefeller Foundation; and the National Dance Project of the New England Foundation for the Arts, with lead funding from the Doris Duke Charitable Foundation and additional funding provided by the Andrew W.
    [Show full text]
  • Download Skanda on a Peacock Forfeiture Complaint.Pdf
    Case 1:21-cv-06065 Document 1 Filed 07/15/21 Page 1 of 15 AUDREY STRAUSS United States Attorney for the Southern District of New York By: JESSICA FEINSTEIN Assistant United States Attorney One Saint Andrew’s Plaza New York, New York 10007 Tel. (212) 637-1946 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - x : UNITED STATES OF AMERICA, : Plaintiff, : VERIFIED COMPLAINT FOR -v.- FORFEITURE : 21 Civ. ___ (___) A 10th CENTURY CAMBODIAN SANDSTONE : SCULPTURE DEPICTING SKANDA ON A PEACOCK, : : Defendant in Rem. : : - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - X Plaintiff United States of America, by its attorney Audrey Strauss, United States Attorney for the Southern District of New York, for its verified complaint, alleges, upon information and belief, as follows: I. NATURE OF THE ACTION 1. This action is brought by the United States of America seeking forfeiture of all right, title and interest in a sandstone statue, circa 10th Century A.D., depicting the Hindu deity Skanda riding a peacock, which was illicitly removed from the Prasat Krachap temple at Case 1:21-cv-06065 Document 1 Filed 07/15/21 Page 2 of 15 the historic and archeological site of Koh Ker, Preah Vihear Province, Cambodia (the “Defendant in rem”). A photograph of the Defendant in rem is attached hereto as Exhibit A. 2. The current owner of the Defendant in rem (the “Owner”) has voluntarily relinquished possession of the Defendant in rem to the United States of America, and waives all claims of right, title and interest in the Defendant in rem. The Defendant in rem is currently located in the possession of the Department of Homeland Security, New York, New York.
    [Show full text]
  • The Mon Language Editmj
    Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2013 The Mon language:recipient and donor between Burmese and Thai Jenny, Mathias Abstract: Mon is spoken in south Myanmar and parts of central and northern Thailand and has been in intense contact with its neighboring languages for many centuries. While Mon was the culturally and politically dominant language in the first millennium, its role was reduced to a local minority language first in Thailand, later in Myanmar. The different contact situations in which the Mon languagehas been between Thailand and Myanmar has led to numerous instances of language change. The influence has not been one-way, with Mon on the receiving end only, but Mon was also the source of restructuring in Burmese and Thai. The present paper attempts to trace some of the contact induced changes in the three languages involved. It is not always clear which language was the source of shared vocabulary and constructions, but in many cases linguistic and historical facts can be adduced to find answers. While Mon language use in Thailand is diminishing fast and Mon in this country is undergoing restructuring according to Thai patterns, in Myanmar Mon is actually still exerting influence on Burmese, albeit mostly on a local level in varieties spoken in Mon and Karen States. The contact between genetically and typologically very different languages as is the case here leads in many cases to linguistically interesting outcomes. Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-81044 Journal Article Accepted Version Originally published at: Jenny, Mathias (2013).
    [Show full text]
  • 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.
    [Show full text]
  • Aslian: Mon-Khmer of the Malay Peninsula
    1 Aslian: Mon-Khmer of the Malay Peninsula. James A. Matisoff University of California, Berkeley Depending from the Southeast Asian mainland like “a long-necked bottle or an Indian club,”1 the Malay Peninsula lies in tropical splendor, separated from the island of Sumatra by the peaceful tidal waters of the Strait of Malacca. In the geological past, before the sinking of the Sunda Shelf, the west (‘Selangor’) coast of Malaya and the east coast of Sumatra were in fact connected by land—and at an even earlier period the two coastlines must have fit neatly together like pieces of a jigsaw puzzle (see Map 1). * This monograph was originally written in 1982-83, almost twenty years ago now, with the intention of incorporating it into the Mon-Khmer chapter of my long-suffering book, Languages of Mainland Southeast Asia. This book, to be published eventually in the Language Surveys series (familiarly know as the “green books”) by Cambridge University Press, is still far from completion, but will hopefully appear sometime during the 21st century. Meanwhile it has become clear that this study of the Aslian branch of Mon-Khmer is far too long and detailed to serve merely as part of a single chapter of a general book on Southeast Asian languages. However, in view of the fact that no other overall treatment of the Aslian languages has appeared in the past 20 years, perhaps the time has come to publish it separately. Since I am certainly no specialist in Mon-Khmer, I have obviously had to rely on the true masters of the field, especially the works of the two preeminent Aslianists, Gérard Diffloth and Geoffrey Benjamin, both of whom have been kind enough to approve of my attempts to summarize their research.
    [Show full text]
  • The Rhyme in Old Burmese Frederic Pain
    Towards a panchronic perspective on a diachronic issue: the rhyme in Old Burmese Frederic Pain To cite this version: Frederic Pain. Towards a panchronic perspective on a diachronic issue: the rhyme in Old Burmese. 2014. hal-01009543 HAL Id: hal-01009543 https://hal.archives-ouvertes.fr/hal-01009543 Preprint submitted on 18 Jun 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. PRE-PRINT VERSION | 1 TOWARDS A PANCHRONIC PERSPECTIVE ON A DIACHRONIC ISSUE: THE RHYME <<----UIW>UIW> IN OLD BURMESE Pain Frederic Academia Sinica, Institute of Linguistics — Taipei Laboratoire Langues et Civilisations à Tradition Orale — Paris1 1.1.1. Theoretical background: PanchronPanchronyy and "Diahoric" StudiesStudies This paper aims at introducing to the panchronic perspective based on a specific problem of historical linguistics in Burmese. Its purpose is to demonstrate that a diachrony is not exclusively indicative of systemic internal contingencies but also a medium through which a socio-cultural situation of the past surfaces. In this sense, I will argue that both internal and external factors of a specific diachrony belong to both obverses of a same panchronic coin and that a combined analysis of both diachronic factors generates powerful explanatory models.
    [Show full text]
  • Kelet-Ázsiai Duplanádas Hangszerek És a Hichiriki Használata a 20
    Liszt Ferenc Zeneművészeti Egyetem 28. számú művészet- és művelődéstörténeti tudományok besorolású doktori iskola KELET-ÁZSIAI DUPLANÁDAS HANGSZEREK ÉS A HICHIRIKI HASZNÁLATA A 20. SZÁZADI ÉS A KORTÁRS ZENÉBEN SALVI NÓRA TÉMAVEZETŐ: JENEY ZOLTÁN DLA DOKTORI ÉRTEKEZÉS 2011 SALVI NÓRA KELET-ÁZSIAI DUPLANÁDAS HANGSZEREK ÉS A HICHIRIKI HASZNÁLATA A 20. SZÁZADI ÉS A KORTÁRS ZENÉBEN DLA DOKTORI ÉRTEKEZÉS 2011 Absztrakt A disszertáció megírásában a fő motiváció a hiánypótlás volt, hiszen a kelet-ázsiai régió duplanádas hangszereiről nincs átfogó, ismeretterjesztő tudományos munka sem magyarul, sem más nyelveken. A hozzáférhető irodalom a teljes témának csak egyes részeit öleli fel és többnyire valamelyik kelet-ázsiai nyelven íródott. A disszertáció második felében a hichiriki (japán duplanádas hangszer) és a kortárs zene viszonya kerül bemutatásra, mely szintén aktuális és eleddig fel nem dolgozott téma. A hichiriki olyan hangszer, mely nagyjából eredeti formájában maradt fenn a 7. századtól napjainkig. A hagyomány előírja, hogy a viszonylag szűk repertoárt pontosan milyen módon kell előadni, és ez az előadásmód több száz éve gyakorlatilag változatlannak tekinthető. Felmerül a kérdés, hogy egy ilyen hangszer képes-e a megújulásra, integrálható-e a 20. századi és a kortárs zenébe. A dolgozat első részében a hozzáférhető szakirodalom segítségével a szerző áttekintést nyújt a duplanádas hangszerekről, bemutatja a két alapvető duplanádas hangszertípust, a hengeres és kúpos furatú duplanádas hangszereket, majd részletesen ismerteti a kelet-ázsiai régió duplanádas hangszereit és kitér a hangszerek akusztikus tulajdonságaira is. A dolgozat második részéhez a szerző összegyűjtötte a fellelhető, hichiriki-re íródott 20. századi és kortárs darabok kottáit és hangfelvételeit, és ezek elemzésével mutat rá a hangszerjáték új vonásaira. A művek elemzése rávilágít arra, hogy a hangszer, melynek több, mint ezer éven át változatlan tradíciója volt, melyen egyféle játékmóddal játszottak egyféle zenét, ma él és virágzik, új irodalma van és játékmódja számos játéktechnikával bővült.
    [Show full text]
  • Prince Sihanouk: the Model of Absolute Monarchy in Cambodia 1953-1970
    Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2013 Prince Sihanouk: The Model of Absolute Monarchy in Cambodia 1953-1970 Weena Yong Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Architectural History and Criticism Commons, Asian Art and Architecture Commons, Asian History Commons, Environmental Design Commons, Historic Preservation and Conservation Commons, Military, War, and Peace Commons, National Security Law Commons, South and Southeast Asian Languages and Societies Commons, and the Urban, Community and Regional Planning Commons Recommended Citation Yong, Weena, "Prince Sihanouk: The Model of Absolute Monarchy in Cambodia 1953-1970". Senior Theses, Trinity College, Hartford, CT 2013. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/309 Prince Norodom Sihanouk Prince Norodom The Model of Absolute Monarchy in Cambodia 1953-1970 by Prince Sihanouk: The Model of Absolute Monarchy in Cambodia By Weena Yong Advised by Michael Lestz Janet Bauer Zayde Gordon Antrim A Thesis Submitted to the International Studies Program of Trinity College in Partial Fulfillment of the Requirements for the Bachelor of Arts Degree © May 2013 1 For my parents, MiOk Mun and Yong Inn Hoe, My brothers, KeeSing Benjamin and KeeHup Arie, My sister, Lenna XingMei And to all my advisors and friends, Whom have inspired and supported me Every day. 2 Abstract This thesis addresses Prince Sihanouk and the model of absolute monarchy in Cambodia during his ‘golden era.’ What is the legacy bequeathed to his country that emanated from his years as his country’s autocratic leader (1954-1970)? What did he leave behind? My original hypothesis was that Sihanouk was a libertine and ruthless god-king who had immense pride for his country.
    [Show full text]