DOCSLIB.ORG

The Development of Art Learning Model at School (A Review of Music Education Learning in Indonesia)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

HARMONIA : Journal of Arts Research and Education 15 (1) (2015), 1-8 p-ISSN 1411-5115 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2355-3820 DOI: 10.15294/harmonia.v15i1.3690 THE DEVELOPMENT OF ART LEARNING MODEL AT SCHOOL (A REVIEW OF MUSIC EDUCATION LEARNING IN INDONESIA) Dieter Mack University of Music, Lübeck, Germany Musikhochschule Lübeck, Große Petersgrube 21, 23552 Lübeck, Germany E-mail: [email protected] Received: April 22, 2015. Revised: May 5, 2015. Accepted: June 13, 2015 Abstract At the present time, art education is often ignored. Focus on teaching and learning at school seems to accentuate other subjects, such as: science, economics, and technology. This trend is becoming more concerning for the arts is a field of study, which draws attention to the development of perceptual sensitivity, creativity, as well as social responsibility. However, if art education, in this case is music education, is taught theoretically based on other cultural materials, then the consequences will be worse for students. This study is aimed to draw outlines of music education which hopefully can answer the three aspects of music which are previously described. The outlines are arranged based on recent discoveries in audio perceptions. Keywords: Art Learning Model; Music Education Learning; Indonesia How to Cite: Mack, D. (2015). The Development of Art Learning Model at School (A Review of Music Education Learning in Indonesia). Harmonia: Journal of Arts Research And Education, 15(1). doi:http://dx.doi.org/10.15294/harmonia.v15i1.3690 INTRODUCTION Another reason behind the proposed idea is because a Western art has its own Before explaining the core problems culture with its typical history which is of art education learning materials, the- essential can be understood as the Wes- re are three main factors related to music tern cultural context and may influence education at school which need to be no- the awareness of students live in Western ted: countries. In Germany, we also do not ini- The first aspect is that art educati- tiate the music education teaching with on materials need to be based on the local lesson related to talempong or Javanese Ga- cultural resources on each of the students, melan. according to their physiological develop- However, some experts believe that ment. Actually, this first factor does not Western arts have been widely known and need to be explained here since it has be- entrenched in Indonesia, especially in the come one of the concerns of experts in the field of popular music. This assumption is field of music education all this time. It is true, however, there are two comments re- hoped that assumptions related to imple- garding to this, as follows: mentation of Western music as the central First, popular music does not need material of music education can get dec- to be given as music materials at school reased for the sake of appreciating the di- since it has been extensively disseminated versity of local cultures. through the media on a massive scale. 1 2 HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 1-8 Second, during my teaching in Indo- the curriculum needs to be revisited and re- nesian schools (since 1992), all experiences vised. Since 1992, the time when I first paid have proven that (with various exceptions) my attention to music education in Indo- the use of Western music’s grammar is still nesia, the curriculum has been amended as being implemented with local awareness, much as four or five times. Unfortunately, such as in the teaching of music intonation. I have not seen significant improvements The majority of Indonesian music in the learning process up to these days. In teachers are still teaching Western musi- my own opinion, the curriculum is not the cal intonation tone by using Indonesian essential part in the learning which needs music intonation tone. As a consequence, to be revised, but the teaching methodolo- the results are not in accordance with the gy that usually does not incorporate in the required necessity. If changes in short in- curriculum. tervals are the characteristic of the majo- Moreover, do not perceive curricu- rity of musical works in Indonesia, there- lum as a text that can be transferred in the fore –with many reasons– what occurred ratio 1:1. Generally, a curriculum can only in Europe is the otherwise. It seems that offer certain suggested ideas related to what happened in the explanation above classroom teaching learning process that is not only resulted from the influence of needs to be adapted and adjusted based on habit, but also influenced by environment. the conditions in the actual classroom. Even, a genetic nuance has determined va- rious standards which are impossible to be PERCEPTION AS THE FOUNDATION implemented at every turn in a relatively OF MUSIC EDUCATION short time. The second aspect is closely related In a recent study entitled “How the to us who have role as teachers. A high- Brain Learns Music?” has been proven that quality art education needs to be opened an education process which is general- to all kinds of art works, in particular tho- ly cognitive is unable to develop musical se which are less popular since popular art competency, even though it has an appre- has been hugely exposed through mass ciative aspect within the learning process. media. Inculcating diversity will develop Edwin E. Gordon states that: the ability to appreciate art as a recent The purpose of music education is complex human expression. However, it to provide one with understanding so that needs to be noted that there are differences he can express himself aesthetically to the between quantitative and qualitative ap- extent his attitudes allow, with both his preciation. It means appreciation towards body and surrogate abstractions. In this a variety of arts in a relatively short time way he will also understand the works of will not instill a series of common sensiti- others. Aesthetic reaction, or appreciation, vity, not only to the musical aspect. It will provides one insight into himself and into be explained further in the following sec- the nature of his relationship to his envi- tion. ronment. The more one understands, the In this endeavor, types of Western more one is able to appreciate, although arts are possible to be implemented as lear- one does not necessarily like all that one ning materials at school by constructing a understands. The assumption that exposu- strong mental representation foundation re to music, with supplementary historical with regard to local arts prior the imple- information and metaphoric descriptions mentation. will produce favorable emotions which The third is related to curriculum. It will endure throughout life is becoming has become a regular activity in Indonesia increasingly suspect. that in every shift of government in power, Audiation takes place when one the education system is one of the topics hears music through recall or creation, the which is often debated under a claim that sound not being physically present (except Dieter Mack, The Development of Art Learning Model at School 3 of course when one is engaging in a per- wers are always filled. What makes it in- formance) and derives musical meaning. teresting, these contents –here are called Aural perception and usually conception as mental representation- are not always takes place when one listens to music actu- stable, even in the process of continuous ally being performed by others. However, change, based on the number of experi- to aurally perceive and conceive music in ences that are collected by people. Until a meaningful manner, one must be capab- now, experts have not agreed about when le of audiating music, for referential and this mental representation will be getting comparative musical purposes, heard at a increased, and when will it is no longer previous time (long-term memory). And developed. Temporary results show that while listening to music, one audiates what the process of change and adaptation are has just been heard (short-time memory) always possible to be occurred. Which has as a basis for audiating what will be heard. been proven is that in the age of 40 above, Without audiation, which is not necessari- the rapidity of adaptation is getting dec- ly nor usually a matter of memorization, reased. even repetition and sequences could not In the knowledge of perception, the- exist and thus there would be no form in re are two types of learning: music (Gordon, 1980). Declarative knowledge is a knowledge Both quotations emphasize relative- which is presented in a form of definition, ly new ideas in the field of music educa- declaration, etc. In other words, (declara- tion. It is said as ‘relatively new’ because tive knowledge is to know about certain the ideas explained above are considered things and to think about an act). This kno- to be new but not really new. Both ideas wledge should not be a point of foundation above are not new since the ideas stated for the musical experience or the process of above explain the natural process on how music learning. humans learn music, which are by direct On the other hand, procedural kno- experience and practice. Here, the repre- wledge is knowledge through active/ sentation of musical grammatical mental practical activities. In other words, (it is to in music is accidentally developed on its know how, thoughts which are resulted to place. This is one of the reasons why music practical acts). It has to become the start around the students’ environment is con- of every effort in the process of learning sidered essential as the foundation of the music, because this is the only thing which learning process.
Recommended publications
  • Gamelan Gender Wayang of Bali: Form and Style

    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.
  • Bali 1928: Gamelan Gong Kebyar Music from Belaluan, Pangkung

    Bali 1928: Gamelan Gong Kebyar Music from Belaluan, Pangkung

    Bali 1928: Gamelan Gong Kebyar Music from Belaluan, Pangkung, Busungbiu 2 Introduction 6 A Sketch of the Time Period of these Recordings 11 Emergence of Kebyar 29 The Balinese Gamelan Recordings from Bali, 1928: a track–by–track discussion: 33 Gamelan Gong Kebyar of Belaluan, Denpasar 46 Gamelan Gong Kebyar of Pangkung, Tabanan 50 Gamelan Gong Kebyar of Busungbiu, Northwest Bali 57 List of Silent Archival Films 58 Acknowledgments 61 References Cited and Further Readings * Glossary on Separate PDF File1 1 The spellings in this article follow modernized Balinese orthography of dictionaries such as Kamus Bali Indonesia, by I Nengah Medera et.al. (1990). Although this system was proposed as early as 1972 it has been applied irregularly in writings on the arts, but we have chosen to adhere to it so as to reflect a closer relationship to actual Balinese aksara ‘letters of the alphabet, language’. For instance, many words with prefixes frequently spelled pe or peng are spelled here with the prefixes pa and pang. 1 Introduction These historic recordings were made in 1928 as part of a collection of the first and only commercially–released recordings of music made in Bali prior to World War II. This diverse sampling of new and older Balinese styles appeared on 78 rpm discs in 1929 with subsequent releases for international distribution. The records were sold worldwide (or not sold, as it happened) and quickly went out of print. It was a crucial time in the island’s musical history as Bali was in the midst of an artistic revolution with kebyar as the new dominant style of music.
  • (Lyrcd 7179) Gamelan Music of Bali Gamelan Angklung And

    (Lyrcd 7179) Gamelan Music of Bali Gamelan Angklung And

    (LYRCD 7179) GAMELAN MUSIC OF BALI GAMELAN ANGKLUNG AND GAMELAN GONG KEBYAR RECORDINGS AND REVISED NOTES BY RUBY ORNSTEIN © 2011 Ruby Ornstein TRACKS 1. Topeng Tua – perforMed by GaMelan Angklung, Mas – 3:14 2. Kebyar Teruna – perforMed by Gunung Sari, Peliatan – 13:49 3. 3. Tabuhan Joged – perforMed by GaMelan Angklung, Jineng DalaM Selatan – 7:37 4. Segara Madu – perforMed by GaMelan Angklung, Sayan – 3:12 5. Lagu No. 2 – perforMed by GaMelan Angklung, Jineng DalaM Selatan – 6:27 6. GaMbang Suling – perforMed by GaMelan Gong Kebyar, Kedis Kaja – 8:58 7. Hujan Mas – perforMed by Gunung Sari, Peliatan – 6:35 NOTES Bali, one of the several thousand islands forMing the Republic of Indonesia, has long been faMous for its gaMelan Music. A tiny Hindu Minority in a predoMinantly MosleM land, the Balinese enjoy a way of life filled with an incredible nuMber of teMple celebrations and life‐cycle cereMonies, all of which require Music. In earlier tiMes when the Balinese rajas still Maintained splendid palaces, they supported large nuMbers of Musicians and dancers for gaMelan that belonged to their courts. Nowadays, with Most palaces reduced to a Mere shadow of their forMer Magnificence, their orchestras have been pawned or sold, and Musical activity is chiefly at the village level. GaMelan instruMents are owned by a village, a banjar (a sub‐section of a village), or by Musicians theMselves. In any case, the players forM a club to regulate their activities. And, if Money and leisure tiMe are less abundant than forMerly, and fewer gamelan clubs are active now than before 1940, there are still nearly 20 different kinds of gaMelan in Bali.
  • The Impact of the West Sumatran Regional Recording Industry on Minangkabau Oral Literature

    The Impact of the West Sumatran Regional Recording Industry on Minangkabau Oral Literature

    Wacana, Vol. 12 No. 1 (April 2010): 35—69 The impact of the West Sumatran regional recording industry on Minangkabau oral literature SURYADI Abstract Due to the emergence of what in Indonesian is called industri rekaman daerah ‘Indonesian regional recording industries’, which has developed significantly since the 1980s, many regional recording companies have been established in Indonesia. As a consequence, more and more aspects of Indonesian regional culture have appeared in commercial recordings. Nowadays commercial cassettes and Video Compact Discs (VCDs) of regional pop and oral literature genres from different ethnic groups are being produced and distributed in provincial and regency towns, even those situated far from the Indonesian capital of Jakarta. Considering the extensive mediation and commodification of ethnic cultures in Indonesia, this paper investigates the impact of the rise of a regional recording industry on Minangkabau oral literature in West Sumatra. Focussing on recordings of some Minangkabau traditional verbal art genres on commercial cassettes and VCDs by West Sumatran recording companies, this paper attempts to examine the way in which Minangkabau traditional verbal art performers have engaged with electronic communication, and how this shapes technological and commercial conditions for ethnic art and performance in one modernizing society in regional Indonesia. Keywords Oral literature, oral tradition, traditional verbal art, media technology, Minangkabau, West Sumatra, regional recording industries, cultural mediation, representation of traditional culture, commodification of cultural practices, cassette, VCD. SURYADI is a lecturer in Indonesian studies at Leiden Institute for Area Studies / School of Asian Studies, Leiden University, and a PhD candidate at Leiden University. His research interests are oral tradition, literary life, and media culture in Indonesia.
  • Bali 1928 Kebyar Arbiter 12-13-14

    Bali 1928 Kebyar Arbiter 12-13-14

    Bali 1928 Gamelan Gong Kebyar Bali 1928 – Volume I – Gamelan Gong Kebyar Music from Belaluan, Pangkung, Busungbiu Edward Herbst Introduction 2 A Sketch of the Time Period of these Recordings 6 Emergence of Kebyar 11 The Balinese Gamelan 29 Recordings from Bali, 1928: a track–by–track discussion 33 Gamelan Gong Kebyar of Belaluan, Denpasar 33 1 Kebyar Ding I: Kebyar 34 2 Kebyar Ding II: Surapati 37 3 Kebyar Ding III: Oncang-oncangan 38 4 Kebyar Ding IV: Batél 40 5 Kebyar Ding V: Pangrangrangan 41 6 Kebyar Ding VI: Pangawak dan Pangécét 41 7 Curik Ngaras ‘Starlings Kissing’ 42 8 Kembang Lengkuas 43 9 Tabuh Telu 44 10 Tabuh Telu Buaya Mangap ‘Open-Mouthed Crocodile’ 45 Gamelan Gong Kebyar of Pangkung, Tabanan 46 11 Gending Sesulingan 48 12 Gending Longgor I 48 13 Gending Longgor II 49 14 Gending Longgor III 50 15 Gending Longgor IV 50 Gamelan Gong Kebyar of Busungbiu, Northwest Bali 50 16 Tabuh Légod Bawa 52 17 Tabuh Cacelantungan 54 18 Kebyar 55 19 Tabuh Panyelah 55 20 Tabuh Gari 56 Bali 1928 Website Information and List of Silent Archival Films 57 Acknowledgments 58 References Cited and Further Readings 61 * Glossary on Separate PDF File Arbiter of Cultural Traditions, New York www.arbiterrecords.org Edward Herbst © 2009 1 Bali 1928 Gamelan Gong Kebyar Introduction These historic recordings were made in 1928 as part of a collection of the first and only commercially–released recordings of music made in Bali prior to World War II. This diverse sampling of new and older Balinese styles appeared on 78 rpm discs in 1929 with subsequent releases for international distribution.
  • 7408 Music of Bali

    7408 Music of Bali

    (LYRCD 7408) MUSIC OF BALI GAMELAN SAMAR PEGULINGAN FROM THE VILLAGE OF KETEWEL Recorded by Wayne Vitale THE TRACKS (Detailed on the tracks can be found below) 1. Bopong - 4:32 2. Lasem - 12:21 3. Subandar Rawit - 10:11 4. Penyelah Gelar Keramas - 11:48 5. Legong Lasem - 16:08 a. Pengawak b. Pengipuk c. Pengipuk d. Pesiat THE GAMELAN SAMAR PEGULINGAN FROM KETEWEL VILLAGE The Island of Bali, part of the vast archipelago of Islands that make up the nation of Indonesia, has long been famed for its highly developed traditions of music and dance. Of the many forms of gamelan that exist on the island (some 20 distinct kinds have been documented among more than 1500 active groups) certainly the most widely known is the Gamelan Gong Kebyar – literally, “to burst into flame” – is the brilliant and virtuosic style that developed in the early part of this century and continues to flourish, often overshadowing the older, more sacred styles. 1 However, some of the richest musical treasures on the island are found in these older ensembles. Together they represent the real core or wellspring of the Balinese musical tradition, upon which the new styles have drawn their substance and spirit. This recording presents music from one of the most beautiful of such ensemble-types, known as Gamelan Semar Pegulingan. It is the gamelan of Semara, the Balinese got of love. The music dedicated to Semara resonates with his image in Balinese mythology: the ultimate expression of manis (sweet) and halus (refined) qualities. Evolved in the now-faded feudal court system of Bali, the delicate music of the Gamelan Semar Pegulingan provided entertainment for the princely rajas and their guests.
  • Relationships of Musical and Cultural Contrasts in Java and Bali

    Relationships of Musical and Cultural Contrasts in Java and Bali

    RELATIONSHIPS OF MUSICAL AND CULTURAL CONTRASTS IN JAVA AND BALI FREDRIC Contrasts of Music Style JAVA AND BALI SHARE MANY BASIC MUSIC-STYLE ELEMENTS. The predominant instruments in both traditions are struck metal idiophones and idiophone sets, large ensemble performance is the ideal, and solo instru- ment traditions are rare. The same kind of tuning systems are found in both areas. Musical form is delineated by colotomic or interpunctuating instru- ments (gongs) while agogic instruments( drums) control the kinetics of flow; and the prevailing texture is that created by several musical levels, or strata, elaborating or abstracting a basic melody. Music is primarily an adjunct to ritual, dance-drama, or puppetry, the literature of which derives from the Hindu epics Mahabharata and Ramayana. Despite these shared characteristics, the two music styles give decidedly differing impressions. Javanese music is refined, controlled, serene, intel- lectual, '' ... each note is so soft, so tender, so vaguely thrilling, so chang- ing-bur ah! how compelling, how bitterly beautiful: that is no tinkling of glass, of copper, or wood; it is the voices of men's souls that speak to me ..." {Kartini 1964:50) Balinese music, on the other hand, is dynamic, lively, full of contrast and excitement, with " ... a beauty that depends upon form and pattern and a vigour that springs from a rhythmid vitality both primitive and joyous." (DeZoute 1939:6) The Javanese gender, a set of thin bronze keys suspended over tuned bamboo resonators, is struck with a round padded beater, producing a mel- low sound of long duration; by way of contrast, the Balinese gender is struck with a hard wood beater, and is played in pairs tuned so as to create audible beats, producing a bright and shimmering sound.
  • Literature Review Gong Culture

    Literature Review Gong Culture

    D Simons, p. 1 David Simons Understanding Media Studies Prof. Peter Haratonik Dec 1, 2009 Assignment: Literature Review Gong Culture: A Survey of East Asian Gong Traditions The Gong is a medium for societies and individuals to gather together, reaffirm their shared connection, and through music, sound, and ritual approach their deities, demons and mythologies. "The concept of sound as a way to let the spirit world know you are around is found in many cultures" (Brooks, Iris)(1). The Gong is also a measure of time: cycles within the day (when the clock strikes), and cycles of musical time. "It occasionally has been recognized, but not adequately explored, that cyclic principles underlie nearly all gong ensemble music in Java, not just gamelan music" (Goldsworthy, David) (2). Gong is an entrance, and gong signifies the end. Gong is reverence, and yet in the wrong place the gong is foolish, pretentious and mocking. The word Gong is supposed to have come from Java; the name is also its sound. (Brinner, Benjamin) (3). This paper will examine and trace gong cultures in Asia that emanated from China with the development of iron and bronze, and traveled through the countries known as Vietnam, Cambodia, Thailand, Burma , Malaysia and Indonesia, and if we are to make a full circle, (in the shape of a gong) up to the Philippines and Korea. Each of these modern countries have traditions that predate Western intervention. Some of these traditions are kept alive by semi-isolated minority tribal groups (Vietnam), while others are world renown as tourist destinations because of their gong culture (Bali).
  • Lou Harrison's

    Lou Harrison's

    i ABSTRACT Lou Harrison’s “Old Granddad”: A Composer’s Guide by Brady J. Spitz American composer Lou Harrison was known for his activity in blending the music of the world’s cultures and, later in life, building instruments. An example of this is the creation of his “American Gamelan” in the late 1960s and early 1970s. He and William Colvig created a set of tuned pipes and aluminum slabs that were fixed to a single key; and, because the instruments were highly resonant metallophones, they became known as the “American Gamelan” (even though Harrison’s own compositional practice with them bore little resemblance to the music of Indonesia at this point). The music of these instruments (which came to be known at “Old Granddad”) are a truly significant achievement in the history of Western music. The first three chapters of this document include a history of the Old Granddad instruments, technical diagrams and descriptions, and a discussion of their tuning. Their purpose is to help future musicians build a replica. The following three chapters analyze Harrison’s three major works for Old Granddad: the opera Young Caesar (1971); the oratorio La Koro Sutro (1972); and the Suite for Violin and American Gamelan (1974). Their purpose is to provide a model for composers who wish to write more works for the instrument. A synthesis of this historical, technical, and theoretical information offers practical details that may be of use to future ii composers. The document concludes with Laurel—a commissioned piece by Shane Monds that tests the conclusions of my research.
  • Recollecting Resonances Verhandelingen Van Het Koninklijk Instituut Voor Taal-, Land En Volkenkunde

    Recollecting Resonances Verhandelingen Van Het Koninklijk Instituut Voor Taal-, Land En Volkenkunde

    Recollecting Resonances Verhandelingen van het Koninklijk Instituut voor Taal-, Land en Volkenkunde Edited by Rosemarijn Hoefte KITLV, Leiden Henk Schulte Nordholt KITLV, Leiden Editorial Board Michael Laffan Princeton University Adrian Vickers Sydney University Anna Tsing University of California Santa Cruz VOLUME 288 Southeast Asia Mediated Edited by Bart Barendregt (KITLV) Ariel Heryanto (Australian National University) VOLUME 4 The titles published in this series are listed at brill.com/vki Recollecting Resonances Indonesian–Dutch Musical Encounters Edited by Bart Barendregt and Els Bogaerts LEIDEN • BOSTON 2014 This is an open access title distributed under the terms of the Creative Commons Attribution‐Noncommercial 3.0 Unported (CC‐BY‐NC 3.0) License, which permits any non‐commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. The realization of this publication was made possible by the support of KITLV (Royal Netherlands Institute of Southeast Asian and Caribbean Studies) Cover illustration: The photo on the cover is taken around 1915 and depicts a Eurasian man seated in a Batavian living room while plucking the strings of his instrument (courtesy of KITLV Collec- tions, image 13352). Library of Congress Cataloging-in-Publication Data Recollecting resonances : Indonesian-Dutch musical encounters / edited by Bart Barendregt and Els Bogaerts. pages cm. — (Verhandelingen van het koninklijk instituut voor taal-, land en volkenkunde ; 288) (Southeast Asia mediated ; 4) Includes index. ISBN 978-90-04-25609-5 (hardback : alk. paper) — ISBN 978-90-04-25859-4 (e-book) 1. Music— Indonesia—Dutch influences. 2. Music—Indonesia—History and criticism. 3. Music— Netherlands—Indonesian influences.
  • An Analysis on Gamelan Theatre: Selected Pieces from Arus Gangsa

    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.

  • Gamelan in North America by Nathinee Chucherwatanasak

    Gamelan in North America by Nathinee Chucherwatanasak Nee Chucherdwatanasak is a PhD pre-cadidate in musicology at the University of Michigan. Her research interests are in the area of composition and performance of contemporary Western art music in Southeast Asia. EARLY INFLUENCE OF GAMELAN IN WESTERN MUSIC The influence of gamelan in the history of Western music is widely known to begin with Claude Debussy (1862–1918) after his encounter with performances of Javanese gamelan at the 1889 Paris Exhibition. The piano piece “Pagodes” from Estampes (1903) is probably the clearest among his other works to capture gamelan sonorities. Soon gamelan musical features appeared in works by other European composers, including Maurice Ravel’s orchestral version of “Laideronnette, impératrice des pagodes” from Ma mere l’oye (1911), Béla Bartók’s “Island of Bali” from the fourth volume of Mikrokosmos (1926–39), Francis Poulenc’s Concerto for Two Pianos and Orchestra (1932) and the prologue to the opera Les mamelles de Tirésias (1944), Olivier Messiaen’s Turangalîla-Symphonie (1946–48), and Benjamin Britten’s The Prince of the Pagodas (1956). On the other side of the Atlantic Ocean, a Sudanese gamelan acquired by the Field Museum of Natural History after the 1893 World’s Columbian Exposition in Chicago became the first set of gamelan instruments in the United States.[i] Yet, American compositions inspired by music from the Indonesian archipelago did not appear until the late 1910s, when German-trained pianist and composer Charles Griffes (1884–1920) wrote a song cycle entitled Three Javanese (Sundanese) Songs (c.1919–20) for voice and piano.