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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 -
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. -
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. -
10Th Anniversary, College of Music, Mahasarakham University, Thailand
Mahasarakham University International Seminar on Music and the Performing Arts 1 Message from the Dean of College of Music, Mahasarakham University College of Music was originally a division of the Faculty of Fine and Applied Arts that offers a Bachelor of Arts program in Musical Art under the the operation of Western Music, Thai Classical music and Folk Music. The college officially established on September 28, 2007 under the name “College of Music” offering an undergraduate program in musical art as well as master’s and doctoral degree programs. At this 10th anniversary, the College is a host for events such as the international conference and also music and dance workshop from countries who participate and join us. I wish this anniversary cerebration will be useful for scholars from many countries and also students from the colleges and universities in Thailand. I thank everyone who are in charge of this event. Thank you everyone for joining us to cerebrate, support and also enhance our academic knowledge to be shown and shared to everyone. Thank you very much. Best regards, (Khomkrich Karin, Ph.D.) Dean, College of Music Mahasarakham University 10th Anniversary, College of Music, Mahasarakham University, Thailand. 2 November 28 – December 1, 2018 Message from the Director of Kalasin College of Dramatic Arts For the importance of the Tenth Anniversary of the College of Music, Masarakham University. the Kalasin College of Dramatic Arts, Bunditpatanasilpa Institute, feels highly honored to co-host this event This international conference-festival would allow teachers, students and researchers to present and publicize their academic papers in music and dance. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
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. -
List of Illustrations (Photos 2-6, 11 and 14 by Toni Shapiro-Phim. All Others
List of Illustrations (Photos 2-6, 11 and 14 by Toni Shapiro-Phim. All others by James Wasserman. All pictures taken in 2004. Copyright remains with photographers.) 1. A stone carving of a celestial being on an ancient temple in the Angkor region of Cambodia. Court dancers modeled some of their costuming on images such as these. 2. The pin peat ensemble of the Department of Arts during a pre-performance ceremony. The pin peat orchestra accompanies shadow puppet theater, classical dance, all-male masked dance-drama, and temple ceremonies. The ensemble generally consists of large and small gong circles (kong vong thom; kong vong touc), high- and low-pitched xylophones (roneat ek; roneat thung; and sometimes a roneat dek), a double-headed barrel drum (sampho), a large pair of barrel drums (skor thom), small cymbals (chheung), and a quadruple-reed hardwood or ivory instrument akin to an oboe (sralai). 3. A multi-tiered beysey fashioned from a banana trunk and banana leaves. Beysey are presented to the spirits and teachers of the dance in a ritual of respect, called sampeah kru, in both classical dance and all-male masked dance-drama traditions. 4. Mural painting on the inner walls surrounding the Temple of the Emerald Buddha at Cambodian’s Royal Palace compound. The painting depicts an episode from the Reamker, the Cambodian version of the Ramayana epic. Note the dancers performing to entertain the royalty. 5. It takes many people, and sometimes more than a month, to complete one costume for either classical dance, or the all-male masked dance-drama. -
List of Illustrations (Photos 2-6, 11 and 14 by Toni Shapiro-Phim. All Others
List of Illustrations (Photos 2-6, 11 and 14 by Toni Shapiro-Phim. All others by James Wasserman. All pictures taken in 2004. Copyright remains with photographers.) 1. A stone carving of a celestial being on an ancient temple in the Angkor region of Cambodia. Court dancers modeled some of their costuming on images such as these. 2. The pin peat ensemble of the Department of Arts during a pre-performance ceremony. The pin peat orchestra accompanies shadow puppet theater, classical dance, all-male masked dance-drama, and temple ceremonies. The ensemble generally consists of large and small gong circles (kong vong thom; kong vong touc), high- and low-pitched xylophones (roneat ek; roneat thung; and sometimes a roneat dek), a double-headed barrel drum (sampho), a large pair of barrel drums (skor thom), small cymbals (chheung), and a quadruple-reed hardwood or ivory instrument akin to an oboe (sralai). 3. A multi-tiered beysey fashioned from a banana trunk and banana leaves. Beysey are presented to the spirits and teachers of the dance in a ritual of respect, called sampeah kru, in both classical dance and all-male masked dance-drama traditions. 4. Mural painting on the inner walls surrounding the Temple of the Emerald Buddha at Cambodian’s Royal Palace compound. The painting depicts an episode from the Reamker, the Cambodian version of the Ramayana epic. Note the dancers performing to entertain the royalty. 5. It takes many people, and sometimes more than a month, to complete one costume for either classical dance, or the all-male masked dance-drama. -
Cambodian Living Arts (CLA)” Arranging with the Notice Numbers *Note
Bophana Audiovisual Resource Center Archives Department Collection of “Cambodian Living Arts (CLA)” Arranging with the notice numbers *Note: You cannot click the title to entry the Bophana Center database due to the Center using intranet. All right reserved by Bophana Center Archive Image Title Versions Date Collection Duration Type Reference Khmer Jazz Fusion 2004 Cambodian Living Arts (CLA) CLA_AU_002545 00:47:06 Kse Diev 2006 Cambodian Living Arts (CLA) CLA_AU_002548 03:50:00 1 Archive Image Title Versions Date Collection Duration Type Reference Roneat 2002 Cambodian Living Arts (CLA) CLA_AU_002549 00:53:58 Pin Peat Music 2005 Cambodian Living Arts (CLA) CLA_AU_002550 01:23:00 Smot Khmer 2005 Cambodian Living Arts (CLA) CLA_AU_002551 06:01:33 Tro Khmer 2005 Cambodian Living Arts (CLA) CLA_AU_002552 05:39:11 Khmer Passages Khmer 2006 Cambodian Living Arts (CLA) CLA_AU_002553 01:05:03 Memm Kreung, Tampuon 2003 Cambodian Living Arts (CLA) CLA_AU_002556 00:13:31 Take 2002 Cambodian Living Arts (CLA) CLA_AU_002557 01:03:22 2 Archive Image Title Versions Date Collection Duration Type Reference Sarikakeo Khmer 2008 Cambodian Living Arts (CLA) CLA_AU_002630 00:55:24 Master Kong Nay and Ouch Savy Khmer 2006 Cambodian Living Arts (CLA) CLA_AU_002641 00:47:15 Kantaom Ming 2008 Cambodian Living Arts (CLA) CLA_AU_002642 01:01:45 Chapei Dang Veng 2005 Cambodian Living Arts (CLA) CLA_AU_002643 00:43:42 Dancing in the Building English, Khmer 2005 Cambodian Living Arts (CLA) CLA_VI_002648 00:09:15 Gongs Across Borders English 2008 Cambodian Living -
A History of Non-Western Bowed Instruments a Look Into the Eastern History of the Modern-Day Violin Sarah A
Long Island University Digital Commons @ LIU Undergraduate Honors College Theses 2016- LIU Post 2019 A History of Non-Western Bowed Instruments A look into the Eastern History of the Modern-Day Violin Sarah A. Bogen Follow this and additional works at: https://digitalcommons.liu.edu/post_honors_theses A History of Non-Western Bowed Instruments A look into the Eastern History of the Modern-Day Violin An Honors Program Thesis by Sarah A. Bogen Spring 2019 LIU Post Music Department Faculty Advisor(Dale Stuckenbruck) Faculty Reader (Maureen Hynes) 1 Table of Contents Abstract ......................................................................................................................................................... 4 Chp.1: Types of Bowed Instruments in East Asia .................................................................................... 6 China ......................................................................................................................................................... 7 The Erhu.................................................................................................................................................... 7 Historical Development ............................................................................................................................ 8 Construction and Appearance ................................................................................................................. 12 Playing Techniques ................................................................................................................................ -
LOWELL, MASSACHUSETTS JULY 28, 29, 30, 1989 5 1ST N ATIONAL F OLK F ESTIVAL L .1,Well
LOWELL, MASSACHUSETTS JULY 28, 29, 30, 1989 5 1ST N ATIONAL F OLK F ESTIVAL l .1,well. Massachusetts .July 28. 2!), :m. 1989 l'ro<.lut;ed by t he National Counc il fo r the Traditio nal Arts l.owell National His to rical Park l<<'gatta Festival Co mmit Ice City o f l.o wl'II \fi<hm·I /loo(('/ (lkuuwlr,/J /JI/Of<, /Jy \11d111o•I P Snwh Wu/la<,• ,\ kNa,• 11holr:> by ' ' ''"' Kum ,\t<ll' H,,mbunJw, u nd Cu,u IJluof' fl lmemM• ()uf,bf<u 1<) T,•rn/,,,.,. built m Lou~// /Jou, Shop lf"•pLum r,holo by Jamrs 111"'1("'~ M ESSAGE 17 ROM T IIE C ONTENTS W ELCOME P ARK SUPERINTENDENT W elcome to Lowelll We are delighted to .. ...................................................... 4 So I offer their names here In alpha I and maintenance services; the Regatta Welcome .... W elcome to the 51st N.1.tlonal Folk host the 51st National Folk Festival. For betical order, without organizational Festival Committee, whose devoted Message from the Park Superintendent. ................................... .. .4 Festival. the third In Lowell. This festival several years the National Park Service .. ............................................................ 6 affiliation. because they belong to a members never lall to volunteer for even Schedule: Friday, July 28 ........ Is n transitional one, neKt year It becomes National Council for Schedule: Saturday, July 29 ............... ............................................................... .. .. 6 greater fraternity. the one composed of has worked with the the most mundane tasks and who are t.he Lowell Folk Festlvlll. The organizing Schedule: Sunday, July 30 ....................................................................... ............................. 8 peoi>lc who really make a <llffercncc. the Traditional Arts In helping to present providing the culinary delights at the Institutions will remain the s:une. -
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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.