The Application of Bonang Gamelan Music Based on Mobile Application
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The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
Public Perceptions of Mt. Merapi and Mt. Agung
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Spring 2019 There She Blows: Public Perceptions of Mt. Merapi and Mt. Agung Trey Atticus Spadone SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Asian Studies Commons, Civic and Community Engagement Commons, Emergency and Disaster Management Commons, Organizational Communication Commons, Pacific Islands Languages and Societies Commons, Place and Environment Commons, and the Volcanology Commons Recommended Citation Spadone, Trey Atticus, "There She Blows: Public Perceptions of Mt. Merapi and Mt. Agung" (2019). Independent Study Project (ISP) Collection. 3165. https://digitalcollections.sit.edu/isp_collection/3165 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. There She Blows: Public Perceptions of Mt. Merapi and Mt. Agung Trey Atticus Spadone Project Advisor: Rose Tirtalistyani SIT Study Abroad Indonesia: Arts, Religion, and Social Change Spring 2019 PUBLIC PERCEPTIONS OF MT. MERAPI AND MT. AGUNG 2 Table of Contents Acknowledgments ..................................................................................................................................................................... -
Philippine Music Instruments CORAZON CANAVE-DIOQUINO Music Instruments, Mechanisms That Produce Sounds, Have Been Used for Various Purposes
Philippine Music Instruments CORAZON CANAVE-DIOQUINO Music instruments, mechanisms that produce sounds, have been used for various purposes. In earlier times they were also used as an adjunct to dance or to labor. In later civilizations, instrumental music was used for entertainment. Present day musicological studies, following the Hornbostel-Sachs classification, divide instruments into the following categories: idiophones, aerophones, chordophones, and membranophones. Idiophones Instruments that produce sound from the substance of the instrument itself (wood or metal) are classified as idiophones. They are further subdivided into those that are struck, scraped, plucked, shaken, or rubbed. In the Philippines there are metal and wooden (principally bamboo) idiophones. Metal idiophonse are of two categories: flat gongs and bossed gongs. Flat gongs made of bronze, brass, or iron, are found principally in the north among the Isneg, Tingguian, Kalinga, Bontok, Ibaloi, Kankanai, Gaddang, Ifugao, and Ilonggot. They are most commonly referred to as gangsa . The gongs vary in sized, the average are struck with wooden sticks, padded wooden sticks, or slapped with the palm of the hand. Gong playing among the Cordillera highlanders is an integral part of peace pact gatherings, marriages, prestige ceremonies, feasts, or rituals. In southern Philippines, gongs have a central profusion or knot, hence the term bossed gongs. They are three of types: (1) sets of graduated gongs laid in a row called the kulintang ; (2) larger, deep-rimmed gongs with sides that are turned in called agung , and (3) gongs with narrower rims and less prominent bosses called gandingan . These gongs may be played alone but are often combined with other instruments to form various types of ensembles. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By GUAN YU, LAM Norman, Oklahoma 2016 JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Paula Conlon, Chair ______________________________ Dr. Eugene Enrico ______________________________ Dr. Marvin Lamb © Copyright by GUAN YU, LAM 2016 All Rights Reserved. Acknowledgements I would like to take this opportunity to thank the members of my committee: Dr. Paula Conlon, Dr. Eugene Enrico, and Dr. Marvin Lamb for their guidance and suggestions in the preparation of this thesis. I would especially like to thank Dr. Paula Conlon, who served as chair of the committee, for the many hours of reading, editing, and encouragement. I would also like to thank Wong Fei Yang, Thow Xin Wei, and Agustinus Handi for selflessly sharing their knowledge and helping to guide me as I prepared this thesis. Finally, I would like to thank my family and friends for their continued support throughout this process. iv Table of Contents Acknowledgements ......................................................................................................... iv List of Figures ............................................................................................................... -
Post-9/11 Brown and the Politics of Intercultural Improvisation A
UNIVERSITY OF CALIFORNIA RIVERSIDE “Sound Come-Unity”: Post-9/11 Brown and the Politics of Intercultural Improvisation A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Dhirendra Mikhail Panikker September 2019 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. Robin D.G. Kelley Dr. René T.A. Lysloff Dr. Liz Przybylski Copyright by Dhirendra Mikhail Panikker 2019 The Dissertation of Dhirendra Mikhail Panikker is approved: Committee Chairperson University of California, Riverside Acknowledgments Writing can feel like a solitary pursuit. It is a form of intellectual labor that demands individual willpower and sheer mental grit. But like improvisation, it is also a fundamentally social act. Writing this dissertation has been a collaborative process emerging through countless interactions across musical, academic, and familial circles. This work exceeds my role as individual author. It is the creative product of many voices. First and foremost, I want to thank my advisor, Professor Deborah Wong. I can’t possibly express how much she has done for me. Deborah has helped deepen my critical and ethnographic chops through thoughtful guidance and collaborative study. She models the kind of engaged and political work we all should be doing as scholars. But it all of the unseen moments of selfless labor that defines her commitment as a mentor: countless letters of recommendations, conference paper coachings, last minute grant reminders. Deborah’s voice can be found across every page. I am indebted to the musicians without whom my dissertation would not be possible. Priya Gopal, Vijay Iyer, Amir ElSaffar, and Hafez Modirzadeh gave so much of their time and energy to this project. -
Adapting and Applying Central Javanese Gamelan Music Theory in Electroacoustic Composition and Performance
Adapting and Applying Central Javanese Gamelan Music Theory in Electroacoustic Composition and Performance Part II of II: Appendices Thesis submitted in partial fulfilment of requirements for the degree of Ph. D. Charles Michael Matthews School of Arts Middlesex University May 2014 Table of contents – part II Table of figures ....................................................................................................................... 121 Table of tables ......................................................................................................................... 124 Appendix 1: Composition process and framework development ..................... 125 1.1 Framework .............................................................................................................................. 126 1.2 Aesthetic development ........................................................................................................ 127 1.3 Idiomatic reference .............................................................................................................. 128 1.3.1 Electroacoustic music references .......................................................................................... 129 1.3.2 Musical time .................................................................................................................................... 130 1.3.3 Electronic cengkok and envelopes ........................................................................................ 132 1.4 Instruments and interfaces .............................................................................................. -
Korean March Defying Jnnta
"'v-'r—s V- '.- y'’- f >•'*,« V'‘V ; \- •. .. •■‘J' ■/ t C b s d a v , m a b c h m , 1 9 m A n n t. D dr Nri P i m m K m lilldftB'tW lLVB': The Weathet lEvpttfng F orth# Week Elided Foreeiaet ef H. 8. Wsothar nari— M a n iiU ,lM I Partial ’ cleaHiig and Mreeay to> chairman is Chester Andrew of Mid. give# them a sebss of Mystic Review Women’s Bene Hie Brtitlah American Club iVUl Ity and self estsem they need *t night with little drop la tempera fit Assn., will meet tonii^t at 8 have its aimiial meeting with elec 116 Ootemon Rd. Speaker Explains 1 3 ,9 6 6 About Town VSCG Band that age, ture. Lowest atronnd SO. Iw tty at Odd Fellows Hall. Guan& are tion of officers Saturday at 6 p.m. William L. Broodwell Is the softheAadlt cloudy, breesy and eoathraed eeoi at the cKibhouse. bandmaster. He has been with the Youth Prohlems ■ H ie Rev. James L. Ransom, New I Canter Churefa Mottien Ghib reminded to attend for guard I o f OirmUatioB lliursday^' HUgheet iUi to 40. work. band olnce 1946 and Its conductor pastor of the PrSebyterian Ohur^, M ancHe»ter-^A City of Village Charm ' i|40 xnaat tom om m nt 8 pjn. In The Rent. Clifford O. Simpson, To ploy f or since 1960. ’Hie band’s strength is Home environment,,1s extremely and Roger Cottle were hosts at the LOW Prie^st tita Mnderg^arten r o o m of the Disabled .^merican Veterans pastor of Center Congregational 47 men. -
Prek–12 EDUCATOR RESOURCES QUICK GUIDE
PreK–12 EDUCATOR RESOURCES QUICK GUIDE MUSICAL INSTRUMENT MUSEUM BRING THE WORLD OF MUSIC TO THE CLASSROOM MIM’s Educator Resources are meant to deepen and extend the learning that takes place on a field trip to the museum. Prekindergarten through 12th-grade educators can maximize their learning objectives with the following resources: • Downloadable hands-on activities and lesson plans • Digital tool kits with video clips and photos • Background links, articles, and information for educators • Free professional development sessions at MIM Each interdisciplinary tool kit focuses on a gallery, display, musical instrument, musical style, or cultural group—all found at MIM: the most extraordinary museum you’ll ever experience! RESOURCES ARE STANDARDS-BASED: Arizona K–12 Academic Standards • English Language Arts • Social Studies • Mathematics • Science • Music • Physical Education Arizona Early Learning Standards • English Language Arts • Social Studies • Mathematics • Science • Music • Physical Education EXPLORE MIM’S EDUCATOR RESOURCES ONLINE: • Schedule a field trip to MIM • Download prekindergarten through 12th-grade tool kits • Register for free professional development at MIM MIM.org | 480.478.6000 | 4725 E. Mayo Blvd., Phoenix, AZ 85050 (Corner of Tatum & Mayo Blvds., just south of Loop 101) SOUNDS ALL AROUND Designed by MIM Education MUSICAL INSTRUMENT MUSEUM SUMMARY Tool Kits I–III feature activities inspired by MIM’s collections and Geographic Galleries as well as culturally diverse musical selections. They are meant to extend and -
East Java – Bali Power Distribution Strengthening Project
*OFFICIAL USE ONLY PT PLN (Persero) East Java – Bali Power Distribution Strengthening Project Environmental & Social Management Planning Framework (Version for Disclosure) January 2020 *OFFICIAL USE ONLY BASIC INFORMATION 1. Country and Project Name: Indonesia – East Java & Bali Power Distribution Strengthening Project 2. Project Development Objective: The expansion of the distribution network comprises erection of new poles, cable stringing, and installation of distribution transformers. 3. Expected Project Benefits: Construction of about 17,000 km distribution lines and installation of distribution transformers in East Java and Bali 4. Identified Project Environmental and Social Risks: Social Risks. It is envisaged that this project will require (i) use of no more than 0.2 m2 of land for installation of concrete poles and approximately 4m2 for installation of transformers (either in cabinet of between two concrete poles or on one pole); limited directional drilling (approx. 200-300m) to run cables under major roads and limited trenching (usually less than 500m) in urban environments, and (iii) possible removal of non-land assets (primarily trimming or felling of trees) for stringing of conductors. While restrictions on land use within the existing right of way apply, the land requirements for the distribution network (lines and transformers) are considered manageable with normal mitigation measures. Project activities will not (i) require land acquisition, (ii) cause physical or economic displacement; and/or (ii) result in adverse impacts to Indigenous Peoples groups and/or members of ethnic minorities. Environmental risks are principally induced by the establishment of the network across natural habitats and potential impact on fauna (in particular avifauna and terrestrial fauna susceptible to access the distribution lines or transformers such as monkeys or other tree dwelling scavenging animals that frequent semi urban environments), and the management of waste (e.g. -
The Classroom Gamelan
PROGRAM DEVELOPMENT The classroom gamelan by Deirdre Dean The inclusion of Indonesian music and language into the The Indonesian cultures best known in Australia are those of mainstream of Australian education is becoming increasingly Bali and Java, perhaps best known for the gamelan, or noticable. The difficulty many teachers find with including orchestra, the wayang kulit, shadow puppet plays, and the Indonesian music into their classroom programs is twofold. kecak (pronounced ke-chuck), monkey dance from Bali. Firstly, a lack of familiarity with the subject means that many teachers lack the confidence to teach the subject to their Javanese music traditions tend to lean more towards the court students. Secondly, many teachers are unaware of the variety traditions of the Middle Ages, fostered in the courts of the and types of resources available to them and, as a result, are sultans at Jogjakarta and Solo (Surakarta). Villages may even unable to create their own individual programs. have their own gamelan, and some villages have their own dalang, a resident dancer, singer and puppeteer who teaches The focus of this article is to provide teachers with a basic music and dance to the children of the village. format that has been used in secondary schools (but is easily adapted to primary situations) for over six years. The subject In Hindu Bali there was also a court tradition, but these were is based on Indonesian music, but has been adapted for fostered by radjas. A stately style of music, known as gamelan Australian students, and is thus more accessible for them. The gong, was common prior to the turn of the century, but list of resources at the end of the notes, particularly the disappeared soon after 1906 following the massacre of the bibliography, is not meant to be a definitive guide. -
Relationship with Percussion Instruments
Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument. -
The Development and Evaluation of Malay Gamelan Module for Schools and Communities
International Journal of Academic Research in Business and Social Sciences Vol. 9 , No. 7, July, 2019, E-ISSN: 2222-6990 © 2019 HRMARS The Development and Evaluation of Malay Gamelan Module for Schools and Communities Wong Huey Yi @ Colleen Wong, Christine Augustine, Zaharul Lailiddin bin Saidon, Suflan Faidzal Bin Arshad To Link this Article: http://dx.doi.org/10.6007/IJARBSS/v9-i7/6090 DOI: 10.6007/IJARBSS/v9-i7/6090 Received: 12 May 2019, Revised: 19 June 2019, Accepted: 1 July 2019 Published Online: 27 July 2019 In-Text Citation:(Wong, Augustine, Saidon, & Arshad, 2019) To Cite this Article: Wong, W. H. Y. @ C., Augustine, C., Saidon, Z. L. bin, & Arshad, S. F. Bin. (2019). The Development and Evaluation of Malay Gamelan Module for Schools and Communities. International Journal of Academic Research in Business and Social Sciences, 9(7), 46–54. Copyright: © 2019 The Author(s) Published by Human Resource Management Academic Research Society (www.hrmars.com) This article is published under the Creative Commons Attribution (CC BY 4.0) license. Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this license may be seen at: http://creativecommons.org/licences/by/4.0/legalcode Vol. 9, No. 7, 2019, Pg. 46 - 54 http://hrmars.com/index.php/pages/detail/IJARBSS JOURNAL HOMEPAGE Full Terms & Conditions of access and use can be found at http://hrmars.com/index.php/pages/detail/publication-ethics 46 International Journal of Academic Research in Business and Social Sciences Vol.