DOCSLIB.ORG

An Analysis on Gamelan Theatre: Selected Pieces from Arus Gangsa

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Analysis on Gamelan Theatre: Selected Pieces from Arus Gangsa View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Malaya Students Repository AN ANALYSIS ON GAMELAN THEATRE: SELECTED PIECES FROM ARUS GANGSA KHOO WAN RU CULTURAL CENTRE UNIVERSITY OF MALAYA KUALA LUMPUR 2018 AN ANALYSIS ON GAMELAN THEATRE: SELECTED PIECES FROM ARUS GANGSA KHOO WAN RU DESSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF PERFORMING ARTS (MUSIC) CULTURAL CENTRE UNIVERSITY OF MALAYA KUALA LUMPUR 2018 UNIVERSITY OF MALAYA ORIGINAL LITERARY WORK DECLARATION Name of Candidate: Khoo Wan Ru (I.C/Passport No: 920226025924) Registration/Matric No: RGI150008 Name of Degree: Master of Performing Arts (Music) Title of Dissertation: An Analysis on Gamelan Theatre: Selected Pieces from Arus Gangsa Field of Study: Musicology I do solemnly and sincerely declare that: (1) I am the sole author/writer of this Work; (2) This Work is original; (3) Any use of any work in which copyright exists was done by way of fair dealing and for permitted purposes and any excerpt or extract from, or reference to or reproduction of any copyright work has been disclosed expressly and sufficiently and the title of the Work and its authorship have been acknowledged in this Work; (4) I do not have any actual knowledge nor do I ought reasonably to know that the making of this work constitutes an infringement of any copyright work; (5) I hereby assign all and every rights in the copyright to this Work to the University of Malaya (“UM”), who henceforth shall be owner of the copyright in this Work and that any reproduction or use in any form or by any means whatsoever is prohibited without the written consent of UM having been first had and obtained; (6) I am fully aware that if in the course of making this Work I have infringed any copyright whether intentionally or otherwise, I may be subject to legal action or any other action as may be determined by UM. Candidate’s Signature Date: Subscribed and solemnly declared before, Witness’s Signature Date: Name: Designation: ii AN ANALYSIS ON GAMELAN THEATRE: SELECTED PIECES FROM ARUS GANGSA ABSTRACT This research focuses on analysis of gamelan theatre produced by Rhythm in Bronze (RIB) in year 2014. As one of the leading gamelan ensemble in Malaysia, RIB is exploring on contemporary gamelan music and performances. Since year 2005, they had been experimenting with gamelan theatre and had showcased many performances on gamelan music and theatre, such as in Monkey Business (2005), Alih PungGONG (2007), MaYa:Gong Illusion (2011) and Arus Gangsa (2014) concerts. Qualitative method was employed; interviews and virtual fieldwork were carried out for data collection. Virtual fieldwork was done through selected recordings of performances from Arus Gangsa concert. Pieces were analyzed and discussed in order to comprehend the musical structure of gamelan theatre. Research looked into two inseparable aspects of gamelan theatre, which are the music and theatrical elements of the performance. Aspects of analysis include music and extra musical elements. Analysis on music focused on the musical structure, melody, instrumentation, timbre, dynamic and extended techniques while analysis on extra musical elements focused on the stage presentation, playing gesture and costume. iii AN ANALYSIS ON GAMELAN THEATRE: SELECTED PIECES FROM ARUS GANGSA ABSTRAK Kajian menumpukan pada analisis dalam persembahan gamelan teater oleh Rhythm in Bronze (RIB) bagi tahun 2014. RIB merupakan salah satu kumpulan yang mengetuai bidang gamelan terutamanya dari segi muzik gamelan komtemporari. Sejak tahun 2005, RIB telah membuat banyak experimen dan mempersembahkan gamelan teater yang menggabungkan muzik gamelan kontemporari dengan elemen teater. Antara persembahan gamelan teater yang telah dipersembahkan oleh RIB ialah Monkey Business (2005), Alih PungGONG (2007), MaYa:Gong Illusion (2011) dan Arus Gangsa (2014). Kajian ini menggunakan kaedah kualitatif. Temu bual dan kerja lapangan telah dilakukan untuk mengumpul data. Kerja lapangan dilakukan melalui rakaman persembahan terpilih dari Arus Gangsa. Persembahan tersebut telah dianalisi dan dibincangkan untuk memahami struktur gamelan teater. Kajian ini memeriksa gamelan teater dari dua segi: muzik dan elemen tambahan. Analisis dalam muzik menumpukan pada struktur, melodi, instrumentasi, sifat bunyi, dinamik lagu dan teknik lanjutan manakala analisis pada elemen tambahan menumpukan pada persembahan pentas, gerakan semasa bermain dan kostum. iv ACKNOWLEDGEMENTS I would like to express my gratitude to everyone who helped me throughout my master study. A big thank you to both my supervisors Dr. Wong Kwan Yie and Dr. Loo Fung Ying, who had guide and assist me in my research. Without your guidance, support and understanding I would not have finished this tough and challenging journey. Many thanks to my informants: Dr. Jillian Ooi, Mr. Loh Kok Man, Mr. Teuku Umar Ilany, Dr. Patricia Matusky, Associate Prof. Dr. Nasir Hashim who are willing to share with me their experience, knowledge and loves towards gamelan and performing arts, despite their busy schedule. I truly appreciate your time and effort. Thank you, to friends who lend me their ears and encourage me when I was weary, when I was lost and when I was about to give up. Last but not least, thank you my family for their unconditional love and support. With their love, support and understanding, I’m stronger and better. v TABLE OF CONTENTS Abstract ........................................................................................................................... iii Abstrak ........................................................................................................................... iv Acknoledgements ............................................................................................................. v Table of Contents ............................................................................................................ vi List of Figures .................................................................................................................. x List of Tables .................................................................................................................. xii List of Appendices ........................................................................................................ xiii CHAPTER 1: INTRODUCTION ................................................................................... 1 1.1 Introduction ........................................................................................................... 1 1.2 Background of Study ............................................................................................ 1 1.3 Problem Statement ................................................................................................ 3 1.4 Research Objectives .............................................................................................. 3 1.5 Research Questions ............................................................................................... 4 1.6 Justifications and Limitations ............................................................................... 4 1.7 Definition of Terms ............................................................................................... 5 1.7.1 Balungan ................................................................................................ 5 1.7.2 Gendhing ................................................................................................. 5 1.7.3 Gongan ................................................................................................... 5 1.7.4 Kotekan .................................................................................................. 6 1.7.5 Colotomic Structure ............................................................................... 6 vi CHAPTER 2: LITERATURE REVIEWS .................................................................... 7 2.1 Introduction ........................................................................................................... 7 2.2 Introduction To Gamelan Instruments .................................................................. 7 2.2.1 The Tuning System and Notation .......................................................... 9 2.2.2 Musical Structure ................................................................................. 12 2.3 History of Gamelan in Malaysia ......................................................................... 15 2.4 Development of Contemporary Gamelan ............................................................ 17 2.5 Theatricalized Performance in Malaysia ............................................................. 22 2.5.1 Theatrical Approach in Gamelan Performance .................................... 24 2.6 Analysis in Gamelan Music ................................................................................. 24 2.7 Analytical Model ................................................................................................. 27 2.8 Conclusion ........................................................................................................... 29 CHAPTER 3: METHODOLOGY ................................................................................... 3 3.1 Introduction ..........................................................................................................32 3.2 Qualitative Research ..........................................................................................
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).
    [Show full text]
  • The Percussion Family 1 Table of Contents
    THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine).
    [Show full text]
  • Innovative Approaches to Melodic Elaboration in Contemporary Tabuh Kreasibaru
    INNOVATIVE APPROACHES TO MELODIC ELABORATION IN CONTEMPORARY TABUH KREASIBARU by PETER MICHAEL STEELE B.A., Pitzer College, 2003 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA August 2007 © Peter Michael Steele, 2007 ABSTRACT The following thesis has two goals. The first is to present a comparison of recent theories of Balinese music, specifically with regard to techniques of melodic elaboration. By comparing the work of Wayan Rai, Made Bandem, Wayne Vitale, and Michael Tenzer, I will investigate how various scholars choose to conceptualize melodic elaboration in modern genres of Balinese gamelan. The second goal is to illustrate the varying degrees to which contemporary composers in the form known as Tabuh Kreasi are expanding this musical vocabulary. In particular I will examine their innovative approaches to melodic elaboration. Analysis of several examples will illustrate how some composers utilize and distort standard compositional techniques in an effort to challenge listeners' expectations while still adhering to indigenous concepts of balance and flow. The discussion is preceded by a critical reevaluation of the function and application of the western musicological terms polyphony and heterophony. ii TABLE OF CONTENTS Abstract ii Table of Contents : iii List of Tables .... '. iv List of Figures ' v Acknowledgements vi CHAPTER 1 Introduction and Methodology • • • • • :•-1 Background : 1 Analysis: Some Recent Thoughts 4 CHAPTER 2 Many or just Different?: A Lesson in Categorical Cacophony 11 Polyphony Now and Then 12 Heterophony... what is it, exactly? 17 CHAPTER 3 Historical and Theoretical Contexts 20 Introduction 20 Melodic Elaboration in History, Theory and Process ..' 22 Abstraction and Elaboration 32 Elaboration Types 36 Constructing Elaborations 44 Issues of "Feeling".
    [Show full text]
  • Gamelan Elektrika: an Electronic Balinese Gamelan
    Gamelan Elektrika: An Electronic Balinese Gamelan Laurel S. Pardue Andrew Boch Matt Boch Responsive Environements, 321 Highland Ave Harmonix MIT Media Lab Sommerville, MA 02144 625 Mass. Ave, 2nd Fl. 75 Amherst St E14-548 Cambridge, MA 02139 Cambridge, MA 02142 [email protected] ∗ Christine Southworth Alex Rigopulos 65 Turning Mill Rd. Harmonix Lexington, MA 02420 625 Mass. Ave, 2nd Fl. [email protected] Cambridge, MA 02139 ABSTRACT out of tune with the other half of the pair resulting in acous- This paper describes the motivation and construction of tical beats. A characteristic of Balinese composition is the Gamelan Elektrika, a new electronic gamelan modeled after interlocking of parts; a single line is regularly split between a Balinese Gong Kebyar. The first of its kind, Elektrika con- two instruments and two players resulting in quick, intri- sists of seven instruments acting as MIDI controllers accom- cate rhythms. Additionally, gamelan is based on different panied by traditional percussion and played by 11 or more versions of pentatonic tuning with each gamelan set having performers following Balinese performance practice. Three its own related but distinct tuning. No two gamelans are main percussive instrument designs were executed using a the same [4]. combination of force sensitive resistors, piezos, and capaci- tive sensing. While the instrument interfaces are designed to play interchangeably with the original, the sound and travel possiblilities they enable are tremendous. MIDI en- ables a massive new sound palette with new scales beyond the quirky traditional tuning and non-traditional sounds. It also allows simplified transcription for an aurally taught tradition.
    [Show full text]
  • Gamelan Gender Wayang of Bali: Form and Style
    ..................~~.~.~.. ~------------------ WESLEYAN UNIVERSITY Gamelan Gender Wayang of Bali: Form and Style by Kalafya Brown A thesis submitted to the facuIty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts in Music May, 2000 Middletown, Connecticut My teacher, Kak Luweng, and myself playing gender (above) and just sitting (below), 2 Introduction and Acknowledgements I began studying gamelan music in 1994 while I was an undergraduate at the Massachusetts Institute of Technology. No one tends offhand to associate gamelan with MIT. but there it is. Professor Evan Ziporyn has been directing the gong kebyar ensemble Gamelan Galak Tika at MIT since 1993, and I was an active member from 1994 until 1997. Unfortunately the pressure of my studies at Wesleyan has not allowed me to play with Galak Tika as much as I would like in the past few years. For the three years of my tenure with Galak Tika we were blessed with the artistry of the Balinese husband and wife team of I Nyoman Catra and Desak Made Suarti Laksmi. The magnificent teaching and performance prowess of Evan, Catra and Desak formed the basis of my introduction to gamelan music. In 1997 I came to Wesleyan University to study for the degree of Master of Arts in Music, of which this thesis is a part. Here at Wesleyan I have had the great honor of studying with I. M. Harjito and Sumarsam, two Javanese artists. I sincerely thank them for broadening my awareness of the multifaceted natures of Indonesian music and for sharing with me the great beauty of the central Javanese court gamelan.
    [Show full text]
  • Performance in Bali
    Performance in Bali Performance in Bali brings to the attention of students and practitioners in the twenty-first century a dynamic performance tradition that has fasci- nated observers for generations. Leon Rubin and I Nyoman Sedana, both international theatre professionals as well as scholars, collaborate to give an understanding of performance culture in Bali from inside and out. The book describes four specific forms of contemporary performance that are unique to Bali: • Wayang shadow-puppet theatre • Sanghyang ritual trance performance • Gambuh classical dance-drama • the virtuoso art of Topeng masked theatre. The book is a guide to current practice, with detailed analyses of recent theatrical performances looking at all aspects of performance, production and reception. There is a focus on the examination and description of the actual techniques used in the training of performers, and how some of these techniques can be applied to Western training in drama and dance. The book also explores the relationship between improvisation and rigid dramatic structure, and the changing relationships between contemporary approaches to performance and traditional heritage. These culturally unique and beautiful theatrical events are contextualised within religious, intel- lectual and social backgrounds to give unparalleled insight into the mind and world of the Balinese performer. Leon Rubin is Director of East 15 Acting School, University of Essex. I Nyoman Sedana is Professor at the Indonesian Arts Institute (ISI) in Bali, Indonesia. Contents List
    [Show full text]
  • Laporan Kinerja Pemerintah Pusat Direktorat Jenderal Kebudayaan
    LAPORAN KINERJA PEMERINTAH PUSAT DIREKTORAT JENDERAL KEBUDAYAAN Kementerian Pendidikan dan Kebudayaan Republik Indonesia 2015 LKPP Direktorat Jenderal Kebudayaan 2015 1 2 LKPP Direktorat Jenderal Kebudayaan 2015 KATA PENGANTAR Puji syukur kita panjatkan ke hadirat Tuhan Yang Maha Esa, atas berkat dan rahmat-Nya Direktorat Jenderal Kebudayaan, Kementerian Pendidikan dan Kebudayaan dapat menyelesaikan Laporan Akuntabilitas Kinerja Tahun 2015. Laporan ini merupakan bagian dari upaya Direktorat Jenderal Kebudayaan dalam rangka penguatan sistem akuntabilitas kinerja seperti tertuang dalam Inpres Nomor 7 Tahun 1999 Tentang Akuntabilitas Kinerja Instansi Pemerintah. Laporan Kinerja ini merupakan bentuk pertanggungjawaban Direktorat Jenderal Kebudayaan, Kementerian Pendidikan dan Kebudayaan atas pelaksanaan kontrak kinerja yang telah diperjanjikan maupun pelaksanaan tugas pokok dan fungsinya dalam membantu Menteri Pendidikan dan Kebudayaan dalam menyelenggarakan pemerintahan di bidang pendidikan dan kebudayaan. Laporan ini menyajikan target dan capaian kinerja Direktorat Jenderal Kebudayaan tahun 2015, berupa tingkat capaian Indikator Kinerja Program (IKP) Pelestarian Budaya yang digunakan untuk mengukur tingkat capaian sasaran strategis Direktorat Jenderal Kebudayaan. Laporan Kinerja Direktorat Jenderal Kebudayaan ini diharapkan dapat memberikan manfaat bagi pihak-pihak yang berkepentingan, baik sebagai informasi maupun evaluasi kinerja serta dapat digunakan sebagai acuan dalam penyusunan dan pelaksanaan program/kegiatan tahun yang akan datang.
    [Show full text]
  • Indonesian Gamelan – an Extended Introduction
    History and Cultural Background The origin story behind the Gamelan strips the orchestra right back to the most fundamental of its instruments – the Gong Gdé, or Gong Ageng. This is the largest of the gongs in a Gamelan orchestra and first appeared in Javanese mythology in roughly 167AD when Sang Hyang Guru needed to contact the gods. He constructed the gong in order to send messages, and created two smaller gongs with different pitches in order to send more complex messages. This formed the first Gamelan and to this day the gongs are fundamentally integral to the Gamelan orchestra. The hammers that are used to play a majority of the instruments are called ‘gamel’ and the suffix ‘-an’ implies ‘many’. Essentially, Gamelan means lots of hammering beats. Bali is a captivating place full of wonder and intrigue. Music is respected and entertainment in general, whilst having structure, is largely timeless. Musicians will take their cues from the dancers instead of dancers learning their pieces to the music; shadow puppet shows will be performed of well-known histories or legends, but may dwell on one idea for hours, and then wrap up the remaining story inside ten minutes if it starts to rain; celebrations may go on for several days; trees and bushes are respected and prayed for before they are cut down. The Balinese respect every living concept as part of the influence of Animism in their culture and this in turn leads to a great respect for existence. From a musical standpoint, each street or district (banjar) traditionally had a gamelan that would play against others in competitions.
    [Show full text]
  • What Do Your Dreams Sound Like?
    Volume 6 › 2017 Orchestral, Concert & Marching Edition What do your Dreams sound like? PROBLEM SOLVED WHY DREAM? D R E A M 2 0 1 7 1 D R E A M 2 0 1 7 Attention Band Directors, Music Teachers, “The Cory Band have been the World's No.1 brass band for the past decade. We feel privileged Orchestra Conductors! to have been associated with We understand how frustrating it can be to try to find the professional Dream Cymbals since 2014. quality, exceptionally musical sounds that you need at a price that fits into From the recording studio to your budget. Everyone at Dream is a working musician so we understand the challenges from our personal experiences. You should not have to Rick Kvistad of the concert halls across the UK and sacrifice your sound quality because of a limited budget. San Francisco Opera says: abroad, we have come to rely From trading in your old broken cymbals through our recycling program, on the Dream sound week in putting together custom tuned gong sets, or creating a specific cymbal set “I love my Dream Cymbals up that we know will work with your ensemble, we love the challenge of week out.” creating custom solutions. for both the orchestra and Visit dreamcymbals.com/problemsolved and get your personal cymbal assistant. By bringing together our network of exceptional dealers and our my drum set. Dr. Brian Grasier, Adjunct Instructor, Percussion, in-house customer service team, we can provide a custom solution tailored They have a unique Sam Houston State University says: to your needs, for free.
    [Show full text]
  • 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 ...............................................................................................................
    [Show full text]
  • Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Download Article
    Advances in Social Science, Education and Humanities Research, volume 271 2nd International Conference on Arts and Culture (ICONARC 2018) Gambang Semarang Music as A Cultural Identity Of Semarang’s Community E Raharjo*, U Arsih Drama, Dance, and Music Department Faculty of Languages and Arts Universitas Negeri Semarang, Semarang, Indonesia *[email protected] Abstract—As a performing art “Gambang Semarang law, broadcasting program, performance form, and culture music” is part of gambang Semarang art that was created in [3]–[12]. However, the researches that exclusively discuss form of complex performing arts consisting of Drama, Dance, about gambang Semarang are form and function of and Music. Several efforts have been done by Semarang’s performance [12] and the process of cultural hybridization society to make it a cultural identity of Semarang. The purpose [6]. Therefore, the researches discuss about the form of of this research was to know, to describe and to analyze the Semarang society’s participation in making Gambang Semarang societies’ participation in supporting the process Semarang music as a cultural identity of Semarang. The data of making gambang Semarang music as one of cultural obtained were qualitative that were from observations, identity of this city. document studies, and deep interviews with the informants. The results showed that Semarang society’s effort in realizing II. METHODOLOGY Gambang Semarang music as Semarang’s cultural identity was This research was done by mix method approach. The manifested in both formal and non formal education, festivals or competitions, workshop, discussions, and performances. combination between qualitative and participatory approach was needed because the both approaches can complete each Keywords—gambang semarang, music, cultural identity other in the process of research’s data taking and data collecting.
    [Show full text]