DOCSLIB.ORG

Culture Teatrali

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. 108 Laura Mariani La rivista «Culture Teatrali» è pubblicata con il contributo del Dipartimento delle Registe di teatro in Italia. Ce n’est qu’un début Arti dell’Università di Bologna. Per abbonamenti e acquisti postali rivolgersi a: DOSSIER LA MUSA METICCIA. VoLo publisher srl, via della Zecca 15, 55100 Lucca, tel. 0583/494820 MATERIALI D’AUTORE PER LA CONOSCENZA E LO STUDIO DELLA REGIA LIRICA [email protected] a cura di Gerardo Guccini Autorizzazione del Tribunale di Bologna n. 7374 del 6 novembre 2003 127 Gerardo Guccini ISSN: 1825-8220 “Regiekultur” vs “Regietheater”. Introduzione alla regia lirica contemporanea © 2015 by VoLo publisher srl via Ricasoli, 32 - 50122 Firenze. PARTE I GROTOWSKI-VACIS-MICHIELETTO: LA MUSICALIZZAZIONE DEL TEATRO Tel. +39/055/2302873 Email: [email protected]. Sito internet: www.lacasausher.it 137 Gerardo Guccini Vacis alla “Paolo Grassi”. Un iceberg pedagogico con diverse In copertina: Sturm und Drang, regia di Luca Ronconi, Firenze, Teatro della Pergola, 17 maggio 1995. Foto di scena di Marcello Norberth. ramificazioni nel campo della regia lirica (Emma Dante, Micheli, Michieletto, Muscato, Sinigaglia) ISBN: 978-88-98811-243 150 Damiano Michieletto Finito di stampare nel mese di dicembre 2016 presso Mediaprint srl - Verona. Tono, ritmo, volume PARTE II PROGETTO OPERABHUTAN LA REGIA IN ITALIA, OGGI PER LUCA RONCONI 160 Gerardo Guccini Verso un teatro d’opera euroasiano 167 Stefano Vizioli Sulla pagina bianca del teatro: Opera ESTrema DOSSIER INTORNO ALLA REGIA. TESTIMONIANZE DI LAVORO ALLE SOGLIE DEL NUOVO MILLENNIO a cura di Claudio Longhi 181 Fabrizio Arcuri, Pietro Babina, Eugenio Barba, Elena Bucci, Luigi De Angelis, Elio De Capitani, Pippo Delbono, Andrea De Rosa, Raffaella Giordano, Antonio Latella, Roberto Latini, Valter Malosti, Marco Martinelli, Mario Martone, Stefano Massini, Ermanna Montanari, Armando Punzo, Cesare Ronconi, Spiro Scimone e Francesco Sframeli, Virgilio Sieni, Federico Tiezzi, Gabriele Vacis INTERVENTI 221 Marco De Marinis Vuoti di memoria e filologia del quasi. A proposito di Valentina Valentini, Nuovo Teatro Made in Italy 1963-2013, con saggi di Anna Barsotti, Cristina Grazioli, Donatella Orecchia, Roma, Bulzoni, 2015 STUDI 239 Carmen Cutugno Reenactment: da Marina Abramovic´ all’intangible cultural heritage dell’Unesco 261 Roberta Ferraresi Una nuova teatrologia. Il processo di rifondazione degli studi teatrali in Italia fra gli anni Sessanta e Settanta 285 Note bio-bibliografiche e abstract Claudio Longhi «L’UNICO RESPONSABILE SONO IO»? APPUNTI DI REGIA, RICORDANDO LUCA RONCONI (QUASI UN’INTRODUZIONE) Je vais vous dire une chose: la mise en scène, on n’en a pas besoin. […] J’aime bien un bon metteur en scène qui fait de beaux éclairages, de beaux décors, etc. Mais c’est quand même une espèce de crabe qui s’est posé sur le théâtre qui n’a pas été utile pendant des siècles, et qui ne le sera pas à un moment donné. B.-M. Koltès, Une part de ma vie. Entretiens (1983-1989) La regia è simile a quei diritti sociali, come si dice nel gergo del movimento sindacale, che non si possono più rimettere in discussione. Sì, la regia equiva- le alle ferie retribuite istituite in Francia nel 1936 dal Front Populaire. Questa metafora, aldilà del suo carattere troppo concreto, ha il merito di ascrivere la regia al campo delle conquiste durature e di non considerarla come una fun- zione transitoria, da rimettere in discussione a ogni svolta e di cui dubitare in ogni momento di crisi. G. Banu, Il ruolo del regista. Cambia lo statuto, ma la regia resta Si le petit sauvage était abandonné à lui-même; qu’il conservât toute son im- bécillité et qu’il réunît au peu de raison de l’enfant au berceau, la violence des passions de l’homme de trente ans, il tordrait le col à son père, et coucherait avec sa mère. J. Diderot, Le Neveu de Rameau Circa due lustri fa, ormai quasi alle soglie degli ottant’anni, discorrendo – con una giovane studiosa – dell’arte smisurata ed etimologicamente stravagante di una delle sue compagne di viaggio più appassionate e devote, ossia Marisa Fabbri mancata il 10 giugno del 2003, Luca Ronconi, vincendo per una volta il suo proverbiale e quasi patologico pudore, il suo affilato e così affascinante cinismo, la sua riluttanza a rico- noscere e fin quasi ad ammettere la grandezza, con la sua consueta misura, non scevra di un dolente quanto rattenuto disincanto, dichiarava: Il teatro purtroppo dimentica presto. La memoria di quello spirito che ha ani- mato Marisa nel suo lavoro artistico, può essere vivo [sic!] solamente in chi l’ha conosciuta personalmente. L’etica e il significato dell’arte dell’attore, per una come Marisa, non trova molto riscontro nel teatro di oggi. Anche in questo consiste la sua eccezionalità non solo di bravura e di talento ma anche della sua 7 posizione e del rapporto che aveva con il teatro di dieci, venti, trenta o quaranta solvi in cui paiono riecheggiare, curiosamente, gli imperiosi accenti dell’astuta anni fa. Marisa è stata un’attrice outsider: questa era la sua forza e da un certo precettistica avanguardista del non certo amato Bert Brecht, vocata al più imper- punto di vista anche il suo limite soprattutto se vista con gli occhi di chi non sonale anonimato4: ha capito la sua non comune abilità, di chi non ha avuto la capacità di leggere i suoi spettacoli e le sue interpretazioni giudicandole non solo in base ai propri gusti personali1. Allontanati dai tuoi compagni alla stazione, / va’ al mattino in città con la giac- ca abbottonata, / cercati un alloggio e se un compagno bussa alla porta: / non aprire, oh non aprire la porta, / ma / cancella le tracce! // […] // Fa’ in modo, Eh già: «Il teatro purtroppo dimentica presto». Sono passati quasi ventiquat- quando conti di morire, / che non vi sia un sepolcro e riveli dove tu giaci, / con tro mesi dalla fin de partie del grande regista e quella laconica constatazione, così una epigrafe nitida che ti denunci / e l’anno della tua morte, che ti dimostri amara e bruciante nel suo apparente distacco, sembra ora ritrovare la sua puntua- colpevole! / Ancora una volta: / cancella le tracce! // (Questo mi fu detto)5. le e immancabile conferma proprio al crocevia col destino di chi con tanta impas- sibile fermezza l’ha enunciata. Quasi ventiquattro mesi, infatti, e già le suggestive Ma innegabilmente molto ha pesato la congenita inclinazione del teatro a di- visioni di uno dei più immaginifici uomini di teatro a cavallo tra XX e XXI secolo menticare, specie del nostro teatro. «Se ripenso alla mia carriera», era solito ripe- hanno cominciato rapidamente a sbiadire. La caleidoscopica e rutilante giostra tere Ronconi negli ultimi anni, «devo ammettere di essermi divertito molto; non dell’Orlando (1969) coi suoi incantesimi improvvisati da ciarlatani, la clinica Ore- posso non chiedermi – però – cosa rimarrà di tutto ciò che ho fatto. Probabilmente stea neocostruttivista di Belgrado (1972), sospesa tra archeologia e fantascienza nulla»6. Doveroso, quindi, per una rivista consacrata alla metodica coltivazione dei – e non ignara dell’antropologia di Lévi-Strauss –, i fiammeggianti sogni lacustri saperi teatrali, scientemente al plurale, combattere questi insidiosi vuoti di memo- della “romantica” Das Käthchen von Heilbronn di Zurigo (1972), incagliatasi sui ria per sottrarre alla «nebbia di sempre» un percorso così ricco, vivace e scoperta- banchi della burocrazia a metà strada tra utopia e realtà, gli sfarzosi sortilegi della mente antidogmatico come quello di Ronconi e doveroso farlo non nei termini ora- festa barocca di Fairy Queen (1987) persa nei giardini di Boboli al cospetto della ziani di una museificazione monumentale (e sclerotizzante), probabilmente invisa stupefatta Palazzina della Meridiana, le algide illustrazioni geometriche del Cal- prima di tutti allo stesso Luca, ma nella forma libera e irrisolta di una discussione derón (1978), astrazioni dei concettosi teoremi ottici di Velázquez, e poi ancora in fieri, capace di restituire il senso della ricerca incessantemente aperta di questo le prospettive impossibili e rifratte di Lodoïska (1991), le proiezioni circolari non artista (o forse meglio “produttore” di teatro) incline a sottoporre ad aspra critica euclidee di Infinities (2002)… su tutto un velo di polvere grigio e compatto ha ogni certezza (e ancora una volta si insinua inquietantemente tra le righe dei nostri iniziato a depositarsi inesorabile nel volgere di un paio di anni.
Load more

Recommended publications
  • 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]
  • 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]
  • Download (12MB)
    10.18132/LFZE.2012.21 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 10.18132/LFZE.2012.21 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.
    [Show full text]
  • (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
    [Show 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 8-2019 Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works Tachinee Patarateeranon Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Patarateeranon, Tachinee, "Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works" (2019). Master's Theses. 93. https://digscholarship.unco.edu/theses/93 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School TRADITIONAL SOUNDS ON WESTERN INSTRUMENTS: THE USE OF TRADITIONAL MUSIC OF MAINLAND SOUTHEAST ASIA IN WESTERN ORCHESTRAL WORKS A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Tachinee Patarateeranon College of Visual and Performing Arts Department of Music Music History and Literature August 2019 This Thesis by: Tachinee Patarateeranon Entitled: Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works has been approved as meeting the requirement for the Degree of Master of Music in the College of Visual and Performing Arts, Department of Music, Program of Music History and Literature Accepted by the Thesis Committee: _______________________________________________________ Dr. Deborah Kauffman, D.M.A., Advisor _______________________________________________________ Dr.
    [Show full text]
  • MIMO Digitisation Standard
    ECP 2008 DILI 538013 MIMO MIMO Definition Of Scanning Properties And Recommendations For Photographing Musical Instruments Version 3 Deliverable number D1.8 Dissemination level Restricted Delivery date 29 August 2011 Status Draft Authors Frank P. Bär, Franziska Pfefferkorn (GNM) eContent plus This project is funded under the eContent plus programme 1, a multiannual Community programme to make digital content in Europe more accessible, usable and exploitable. 1 OJ L 79, 24.3.2005, p. 1. Based on partners’ further practical work in digitising musical instruments and in application of version 2 of this paper (D1.5), feedback, MIMO-born images and practical hints were con- tinuously collected by WP1 lead (GNM) in order to prepare the final version 3 of the standard paper. An external evaluation conducted by WP5 among members of ICOM-CIMCIM led to im- provements in form and content. The attached document shall be made public as soon as the English wording will be checked by a native speaker and will be delivered as final version of Deliverable D1.8. Attached document: The MIMO digitization standard. Definition Of Scanning Properties And Recommendations For Photographing Musical Instruments - final Version 3 (draft) 2 The MIMO Digitisation Standard Definition of scanning properties and recommendations for photographing musical instruments final version 3 - draft - Frank P. Bär Franziska Pfefferkorn for Nürnberg, 2011 3 Content: 0. Introduction ......................................................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Aspects of Improvisation in Thai Classical
    ASPECTS OF IMPROVISATION IN THAI CLASSICAL DRUMMING WITH SPECIAL REFERENCE TO THE TAPHON By ANANT NARKONG Submitted for the Degree of Master in Philosophy University of London School of Oriental and African Studies Centre of Music Studies 1992 Abstract This research is intended to clarify ideas about Thai music by looking at the relationship of the basic nathap (drumming pattern) and the sa/-making ('improvisation' for Thai drumming) in the context of actual performance. The taphon, the double-headed barrel drum used in the different types of ensembles in Thai classical music, is chosen to be the focus of the study. The thesis is divided in to two parts. In part I, three main issues are proposed to be studied: a) a general description of the drum. This chapter includes the general description of the taphon; the myths and history of the taphon which link it with other Asian musical cultures, other drums of the taphon-type, and the place of the taphon in music ensembles; b) the traditional process of music transmission in taphon lessons. Here the initiation ceremony, yok kru, and the teacher homage ceremony, wai kru, are examined, the taphon tuning, the basic techniques of playing the taphon, the basic strokes, the taphon exercises and the early lessons of nathap and sai are discussed; and c) the drum pattern, nathap, including the definition, the history and development of nathap, the relationship of nathap to other aspects of the rhythmic structure of Thai music, and finally the classification of nathap. Part II is an analysis of nathap and ^/'-making by investigating the micro and macro structure of the performed nathap songrnai in two selected pieces, phleng si nuan chan song and phleng khaek horrathet thao.
    [Show full text]
  • Download the Show Program Click HERE
    Dinner Show THANK YOU FOR CHOOSING KANELL RESTAURANT. WE ARE TRULY DELIGHTED TO INTRODUCE YOU TO TRADITIONAL KHMER APSARA DANCE Gain insight into this ancient Cambodian art form and be amazed by the beauty of Khmer dance in its many forms. This is a rare opportunity to learn more about the Cambodian people and their ancestral traditions as Apsara dance traces its roots back to the ancient temple carvings at Angkor Wat. What you will see during Kanell dinner show Khmer Traditional Music 1 - Mani Mekhala Dance The Mekhala dance is a myth about the origin of thunderstorms and lightning. 2 students, The giant and Mekhala studied with the same master. When they completed the training the teacher gave 1 magic object each: The giant received an ax and Mekhala received a bright crystal ball very powerful and brilliant. The giant was very jealous and wanted the crystal ball, so to take it he threw an ax to kill the Mekhala, while Mekhala threw back glass to resist and the two objects were colliding and become thunderstorms and lightning flashing up on the sky. Finally, the giant lost 1 give up and accept his defeat. 2 - Bokator interlude Long stick fighting martial arts style for protecting the village. 2 3 - Kondob Boksrov (grasshopper dance) Kandob dance take its roots in the rice field and the Cambodian country side. It represents the beauty of nature that amazed every day the farmers while working in the rice field and observing the beautiful landscape. Dancers are wearing costumes, made partially with coconut that represents the Grasshooper that you can find often in the fields.
    [Show full text]