Exploration of Ethnomathematics of Hadrah Musical Instruments As An
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
Public Perceptions of Mt. Merapi and Mt. Agung
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Spring 2019 There She Blows: Public Perceptions of Mt. Merapi and Mt. Agung Trey Atticus Spadone SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Asian Studies Commons, Civic and Community Engagement Commons, Emergency and Disaster Management Commons, Organizational Communication Commons, Pacific Islands Languages and Societies Commons, Place and Environment Commons, and the Volcanology Commons Recommended Citation Spadone, Trey Atticus, "There She Blows: Public Perceptions of Mt. Merapi and Mt. Agung" (2019). Independent Study Project (ISP) Collection. 3165. https://digitalcollections.sit.edu/isp_collection/3165 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. There She Blows: Public Perceptions of Mt. Merapi and Mt. Agung Trey Atticus Spadone Project Advisor: Rose Tirtalistyani SIT Study Abroad Indonesia: Arts, Religion, and Social Change Spring 2019 PUBLIC PERCEPTIONS OF MT. MERAPI AND MT. AGUNG 2 Table of Contents Acknowledgments ..................................................................................................................................................................... -
Philippine Music Instruments CORAZON CANAVE-DIOQUINO Music Instruments, Mechanisms That Produce Sounds, Have Been Used for Various Purposes
Philippine Music Instruments CORAZON CANAVE-DIOQUINO Music instruments, mechanisms that produce sounds, have been used for various purposes. In earlier times they were also used as an adjunct to dance or to labor. In later civilizations, instrumental music was used for entertainment. Present day musicological studies, following the Hornbostel-Sachs classification, divide instruments into the following categories: idiophones, aerophones, chordophones, and membranophones. Idiophones Instruments that produce sound from the substance of the instrument itself (wood or metal) are classified as idiophones. They are further subdivided into those that are struck, scraped, plucked, shaken, or rubbed. In the Philippines there are metal and wooden (principally bamboo) idiophones. Metal idiophonse are of two categories: flat gongs and bossed gongs. Flat gongs made of bronze, brass, or iron, are found principally in the north among the Isneg, Tingguian, Kalinga, Bontok, Ibaloi, Kankanai, Gaddang, Ifugao, and Ilonggot. They are most commonly referred to as gangsa . The gongs vary in sized, the average are struck with wooden sticks, padded wooden sticks, or slapped with the palm of the hand. Gong playing among the Cordillera highlanders is an integral part of peace pact gatherings, marriages, prestige ceremonies, feasts, or rituals. In southern Philippines, gongs have a central profusion or knot, hence the term bossed gongs. They are three of types: (1) sets of graduated gongs laid in a row called the kulintang ; (2) larger, deep-rimmed gongs with sides that are turned in called agung , and (3) gongs with narrower rims and less prominent bosses called gandingan . These gongs may be played alone but are often combined with other instruments to form various types of ensembles. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By GUAN YU, LAM Norman, Oklahoma 2016 JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Paula Conlon, Chair ______________________________ Dr. Eugene Enrico ______________________________ Dr. Marvin Lamb © Copyright by GUAN YU, LAM 2016 All Rights Reserved. Acknowledgements I would like to take this opportunity to thank the members of my committee: Dr. Paula Conlon, Dr. Eugene Enrico, and Dr. Marvin Lamb for their guidance and suggestions in the preparation of this thesis. I would especially like to thank Dr. Paula Conlon, who served as chair of the committee, for the many hours of reading, editing, and encouragement. I would also like to thank Wong Fei Yang, Thow Xin Wei, and Agustinus Handi for selflessly sharing their knowledge and helping to guide me as I prepared this thesis. Finally, I would like to thank my family and friends for their continued support throughout this process. iv Table of Contents Acknowledgements ......................................................................................................... iv List of Figures ............................................................................................................... -
Post-9/11 Brown and the Politics of Intercultural Improvisation A
UNIVERSITY OF CALIFORNIA RIVERSIDE “Sound Come-Unity”: Post-9/11 Brown and the Politics of Intercultural Improvisation A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Dhirendra Mikhail Panikker September 2019 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. Robin D.G. Kelley Dr. René T.A. Lysloff Dr. Liz Przybylski Copyright by Dhirendra Mikhail Panikker 2019 The Dissertation of Dhirendra Mikhail Panikker is approved: Committee Chairperson University of California, Riverside Acknowledgments Writing can feel like a solitary pursuit. It is a form of intellectual labor that demands individual willpower and sheer mental grit. But like improvisation, it is also a fundamentally social act. Writing this dissertation has been a collaborative process emerging through countless interactions across musical, academic, and familial circles. This work exceeds my role as individual author. It is the creative product of many voices. First and foremost, I want to thank my advisor, Professor Deborah Wong. I can’t possibly express how much she has done for me. Deborah has helped deepen my critical and ethnographic chops through thoughtful guidance and collaborative study. She models the kind of engaged and political work we all should be doing as scholars. But it all of the unseen moments of selfless labor that defines her commitment as a mentor: countless letters of recommendations, conference paper coachings, last minute grant reminders. Deborah’s voice can be found across every page. I am indebted to the musicians without whom my dissertation would not be possible. Priya Gopal, Vijay Iyer, Amir ElSaffar, and Hafez Modirzadeh gave so much of their time and energy to this project. -
Adapting and Applying Central Javanese Gamelan Music Theory in Electroacoustic Composition and Performance
Adapting and Applying Central Javanese Gamelan Music Theory in Electroacoustic Composition and Performance Part II of II: Appendices Thesis submitted in partial fulfilment of requirements for the degree of Ph. D. Charles Michael Matthews School of Arts Middlesex University May 2014 Table of contents – part II Table of figures ....................................................................................................................... 121 Table of tables ......................................................................................................................... 124 Appendix 1: Composition process and framework development ..................... 125 1.1 Framework .............................................................................................................................. 126 1.2 Aesthetic development ........................................................................................................ 127 1.3 Idiomatic reference .............................................................................................................. 128 1.3.1 Electroacoustic music references .......................................................................................... 129 1.3.2 Musical time .................................................................................................................................... 130 1.3.3 Electronic cengkok and envelopes ........................................................................................ 132 1.4 Instruments and interfaces .............................................................................................. -
The Application of Bonang Gamelan Music Based on Mobile Application
International Journal of Recent Technology and Engineering (IJRTE) ISSN: 2277-3878, Volume-8 Issue-6, March 2020 The Application of Bonang Gamelan Music Based on Mobile Application Wan Hassan W A S., Rosli D.I., Ariffin A., Ahmad F., Jamin J learning which was practiced at local institutions of higher Abstract: The application of bonang gamelan music based on learning such as Malaysian Open University (OUM) (Zoraini, mobile application was developed with the aim of maintaining the 2010). This aspect will indirectly increase the productivity of tradition of traditional musical instruments in the society of this individual skills in daily life as well as foster continuous modern day. Users can recognise and learn how to play the traditional musical instruments, especially bonang gamelan by learning practices. Striking from the use of distance learning using mobile phone technology. This application provides and e-learning methods, the education world strives to convenience for users without spending time and money and they explore the dimensions of learning for users who want to learn can also access it anywhere. The development of this animated anytime and anywhere. Then, the term learning method is application is based on the ADDIE methodology and uses Adobe mobile or is called m-learning (Brown, 2005). This Flash software as a platform to develop this music app. The respondents involved in the development of this music app consist m-learning method is akin to self-learning using mobile of six (6) specialists in bonang gamelan music and IT devices such as mobile telephony, personal digital assistant professionals. The user respondents were ten (10) students of the (PDA), Palm Talk and others as learning tools (Wagner, Faculty of Technical and Vocational Education (FPTV). -
Perlindungan Pengetahuan Tradisional Sebagai Hak Konstitusional Di Indonesia Protection of Traditional Knowledge As Constitutional Rights in Indonesia
Perlindungan Pengetahuan Tradisional sebagai Hak Konstitusional di Indonesia Protection of Traditional Knowledge as Constitutional Rights in Indonesia Reh Bungana Beru Perangin-angin, Ramsul Nababan, Parlaungan G. Siahaan Jurusan PPKn Fakultas Ilmu Sosial Universitas Negeri Medan Jl. Willem Iskandar Pasar V Medan 20221 Email : [email protected], [email protected], [email protected] Naskah diterima: 18/02/2019 revisi:16/01/2020 disetujui: 20/01/2020 Abstrak Indonesia merupakan negara yang memiliki sumber daya genetik yang melimpah, multi etnis, serta budaya yang beraneka ragam. Keadaan yang demikian membuat Indonesia kaya akan pengetahuan tradisional. Melindungi pengetahuan tradisional sangat penting karena pengetahuan tradisional merupakan identitas dari masyarakat pemiliknya. Melalui Pasal 18B ayat (2) dan Pasal 28I ayat (3) UUD 1945, maka secara implisit pengetahuan tradisional yang merupakan hak tradisional dan identitas budaya masyakarat asli diakui sebagai hak konstitusional. Perlindungan pengetahuan tradisional di Indonesia diatur dalam UU Hak Cipta, UU Paten, dan UU Pemajuan Kebudayaan. Namun, perlindungan pengetahuan tradisional di Indonesia belum optimal, karena belum memberikan perlindungan yang memadai terhadap pengetahuan tradisional. Kata Kunci : budaya, pengetahuan tradisional, hak konstitusional Abstract Indonesia is a country that has abundant genetic resources, multi ethnicity, and diverse cultures. This situation makes Indonesia very rich in traditional knowledge. Protecting traditional knowledge -
Deskripsi Pertunjukan Musik Tradisi Dan Tortor Dalam
DESKRIPSI PERTUNJUKAN MUSIK TRADISI DAN TORTOR DALAM UPACARA ADAT PERKAWINAN MANDAILING DI KELURAHAN KARANG BEROMBAK, KECAMATAN MEDAN BARAT, KOTA MEDAN DENGAN MEMPELAI ENDANG RETNO WIDIASTUTI DAN HIDAYAT NASARUDDIN HASIBUAN SKRIPSI SARJANA O L E H M. REZA F. PANE NIM: 140707043 UNIVERSITAS SUMATERA UTARA FAKULTAS ILMU BUDAYA PROGRAM STUDI ETNOMUSIKOLOGI MEDAN 2019 Universitas Sumatera Utara ii Universitas Sumatera Utara iii Universitas Sumatera Utara iv Universitas Sumatera Utara PERNYATAAN Dengan ini saya nyatakan bahwa dalam skripsi ini tidak terdapat karya yang pernah diajukan untuk memperoleh gelar kesarjanaan di suatu Perguruan Tinggi, dan sepanjang pengetahuan penulis juga tidak terdapat karya atau pendapat yang pernah ditulis atau diterbitkan oleh orang lain, kecuali yang secara tertulis disebutkan dalam daftar pustaka. Medan, Agustus 2019 M. Reza F. Pane NIM: 140707043 v Universitas Sumatera Utara ABSTRAK Skripsi sarjana ini berjudul “Deskripsi Pertunjukan Musik Tradisi dan Tortor dalam Upacara Adat Perkawinan Mandailing di Kelurahan Karang Berombak, Kecamatan Medan Barat, Kota Medan dengan Mempelai Endang Retno Widiastuti dan Hidayat Nasaruddin Hasibuan.” Tujuan penelitian ini adalah untuk mendeksipsikan du fenomena pada upacara perkawinan tersebut, yakni yang pertama adalah upacara perkawinan dan yang kedua pertunjukan musik tradisi Mandailing yakni gordang sambilan dan gondang dua, serta tortornya. Untuk menjawab masalah pertama digunakan teori upacara. Selanjutnya untuk mendeskripsikan pertunjukan musik dan tortor, digunakan teori pertunjukan. Metode yang digunakan dalam penelitian ini adalah metode kualitatif, yaitu prosedur penelitian yang menghasilkan data deskriptif berupa kata-kata tertulis atau lisan dari orang-orang dan perilaku yang dapat diamati. Penelitian ini berbasis pada kerja lapangan, berupa observasi, perekaman peristiwa upacara secara audiovisual, dan wawancara terutama kepada narasumber dan pelaku.Adapun hasil yang diperoleh dari penelitian ini sebagai berikut. -
Korean March Defying Jnnta
"'v-'r—s V- '.- y'’- f >•'*,« V'‘V ; \- •. .. •■‘J' ■/ t C b s d a v , m a b c h m , 1 9 m A n n t. D dr Nri P i m m K m lilldftB'tW lLVB': The Weathet lEvpttfng F orth# Week Elided Foreeiaet ef H. 8. Wsothar nari— M a n iiU ,lM I Partial ’ cleaHiig and Mreeay to> chairman is Chester Andrew of Mid. give# them a sebss of Mystic Review Women’s Bene Hie Brtitlah American Club iVUl Ity and self estsem they need *t night with little drop la tempera fit Assn., will meet tonii^t at 8 have its aimiial meeting with elec 116 Ootemon Rd. Speaker Explains 1 3 ,9 6 6 About Town VSCG Band that age, ture. Lowest atronnd SO. Iw tty at Odd Fellows Hall. Guan& are tion of officers Saturday at 6 p.m. William L. Broodwell Is the softheAadlt cloudy, breesy and eoathraed eeoi at the cKibhouse. bandmaster. He has been with the Youth Prohlems ■ H ie Rev. James L. Ransom, New I Canter Churefa Mottien Ghib reminded to attend for guard I o f OirmUatioB lliursday^' HUgheet iUi to 40. work. band olnce 1946 and Its conductor pastor of the PrSebyterian Ohur^, M ancHe»ter-^A City of Village Charm ' i|40 xnaat tom om m nt 8 pjn. In The Rent. Clifford O. Simpson, To ploy f or since 1960. ’Hie band’s strength is Home environment,,1s extremely and Roger Cottle were hosts at the LOW Prie^st tita Mnderg^arten r o o m of the Disabled .^merican Veterans pastor of Center Congregational 47 men. -
Prek–12 EDUCATOR RESOURCES QUICK GUIDE
PreK–12 EDUCATOR RESOURCES QUICK GUIDE MUSICAL INSTRUMENT MUSEUM BRING THE WORLD OF MUSIC TO THE CLASSROOM MIM’s Educator Resources are meant to deepen and extend the learning that takes place on a field trip to the museum. Prekindergarten through 12th-grade educators can maximize their learning objectives with the following resources: • Downloadable hands-on activities and lesson plans • Digital tool kits with video clips and photos • Background links, articles, and information for educators • Free professional development sessions at MIM Each interdisciplinary tool kit focuses on a gallery, display, musical instrument, musical style, or cultural group—all found at MIM: the most extraordinary museum you’ll ever experience! RESOURCES ARE STANDARDS-BASED: Arizona K–12 Academic Standards • English Language Arts • Social Studies • Mathematics • Science • Music • Physical Education Arizona Early Learning Standards • English Language Arts • Social Studies • Mathematics • Science • Music • Physical Education EXPLORE MIM’S EDUCATOR RESOURCES ONLINE: • Schedule a field trip to MIM • Download prekindergarten through 12th-grade tool kits • Register for free professional development at MIM MIM.org | 480.478.6000 | 4725 E. Mayo Blvd., Phoenix, AZ 85050 (Corner of Tatum & Mayo Blvds., just south of Loop 101) SOUNDS ALL AROUND Designed by MIM Education MUSICAL INSTRUMENT MUSEUM SUMMARY Tool Kits I–III feature activities inspired by MIM’s collections and Geographic Galleries as well as culturally diverse musical selections. They are meant to extend and -
East Java – Bali Power Distribution Strengthening Project
*OFFICIAL USE ONLY PT PLN (Persero) East Java – Bali Power Distribution Strengthening Project Environmental & Social Management Planning Framework (Version for Disclosure) January 2020 *OFFICIAL USE ONLY BASIC INFORMATION 1. Country and Project Name: Indonesia – East Java & Bali Power Distribution Strengthening Project 2. Project Development Objective: The expansion of the distribution network comprises erection of new poles, cable stringing, and installation of distribution transformers. 3. Expected Project Benefits: Construction of about 17,000 km distribution lines and installation of distribution transformers in East Java and Bali 4. Identified Project Environmental and Social Risks: Social Risks. It is envisaged that this project will require (i) use of no more than 0.2 m2 of land for installation of concrete poles and approximately 4m2 for installation of transformers (either in cabinet of between two concrete poles or on one pole); limited directional drilling (approx. 200-300m) to run cables under major roads and limited trenching (usually less than 500m) in urban environments, and (iii) possible removal of non-land assets (primarily trimming or felling of trees) for stringing of conductors. While restrictions on land use within the existing right of way apply, the land requirements for the distribution network (lines and transformers) are considered manageable with normal mitigation measures. Project activities will not (i) require land acquisition, (ii) cause physical or economic displacement; and/or (ii) result in adverse impacts to Indigenous Peoples groups and/or members of ethnic minorities. Environmental risks are principally induced by the establishment of the network across natural habitats and potential impact on fauna (in particular avifauna and terrestrial fauna susceptible to access the distribution lines or transformers such as monkeys or other tree dwelling scavenging animals that frequent semi urban environments), and the management of waste (e.g.