Ritual Music and Hindu Rituals of Kerala (review)

Asian Music ◽  
2012 ◽  
Vol 43 (2) ◽  
pp. 162-164
Author(s):  
Ben Krakauer
Keyword(s):  
Ritual Music

The Shaman Ritual Music for the Dead in Korea

2016 ◽  
Vol 39 ◽  
pp. 161-185
Author(s):  
Yong-Shik Lee ◽  
Keyword(s):  
Ritual Music ◽  
The Dead

When Culturally Significant Songs are Decontextualised: The Initiation Song Somagwaza, A Case Study

2018 ◽  
Vol 28 (2) ◽  
Author(s):  
T Dowling ◽  
Somikazi Deyi ◽  
Anele Gobodwana
Keyword(s):  
Qualitative Research ◽  
Comparative Method ◽  
Popular Song ◽  
Focus Group Discussions ◽  
Group Discussions ◽  
Ritual Music ◽  
Constant Comparative Method ◽  
Small Focus ◽  
Over Time

While there have been a number of studies on the decontextualisation and secularisation of traditional ritual music in America, Taiwan and other parts of the globe, very little has been written on the processes and transformations that South Africa’s indigenous ceremonial songs go through over time. This study was prompted by the authors’ interest in, and engagement with the Xhosa initiation song Somagwaza, which has been re-imagined as a popular song, but has also purportedly found its way into other religious spaces. In this article, we attempted to investigate the extent to which the song Somagwaza is still associated with the Xhosa initiation ritual and to analyse evidence of it being decontextualised and secularised in contemporary South Africa. Our methodology included an examination of the various academic treatments of the song, an analysis of the lyrics of a popular song, bearing the same name, holding small focus group discussions, and distributing questionnaires to speakers of isiXhosa on the topic of the song. The data gathered were analysed using the constant comparative method of analysing qualitative research.

Ritual Music and Formative Spirituality

Liturgy ◽  
1990 ◽  
Vol 9 (1) ◽  
pp. 76-79
Author(s):  
Shawn Madigan
Keyword(s):  
Ritual Music ◽  
Formative Spirituality

scholarly journals Musik Dewa-Dewa Dalam Upacara Erau Pelas Benua di Guntung Kota Bontang Kalimantan Timur

SELONDING ◽  
2019 ◽  
Vol 14 (14) ◽  
Author(s):  
Yusuf Rizky
Keyword(s):  
Qualitative Method ◽  
Ritual Music ◽  
Physical Response ◽  
The Universe

Erau Pelas Benua Guntung is the ritual ceremony that held by Kutai Guntung society Bontang, East Borneo. Erau will be held for seven days. In this ceremony, the erau ritual can’t be held if they are not doing the Pelas Benua. Pelas Benua is a ritual that sorrounds the four direction of the wind in Guntung as the form to clean up from the negative things. This ritual using Dewa-Dewa music as accompanist, the belian communicate to Dewa  Semega, He is The God who control the universe. This research using qualitative method with ethnomusicology perspective. Music Dewa-Dewa is ritual music which is specially used in Pelas Benua procession. Music Dewa-Dewa is an ansamble which consist Klentangan, Gong, Gendang and Gimar instrument.                                                                                                  There are three function of Dewa-Dewa music in this ceremony, as communication, ritual function, and physical response. The form of presentation music Dewa-Dewa always can not be separated with form the context of Pelas Benua ceremony and presenting as the ansamble.

“To Give Greece Back to the Greeks”

2018 ◽  
pp. 107-138
Author(s):  
Samuel N. Dorf
Keyword(s):  
Modern Dance ◽  
Silent Film ◽  
Folk Song ◽  
Ancient Greek ◽  
Ritual Music ◽  
Greek Culture ◽  
Modern Greek ◽  
Social Events ◽  
Rite Of Spring ◽  
Le Sacre Du Printemps

Eva Palmer Sikelianos, along with her husband, the poet Angehlos Sikelianos, founded the first modern Delphic Festival in 1927 in an effort to revive the ancient Greek rites that had taken place on that spot more than twenty-five hundred years before. This chapter explores Palmer Sikelianos’s choreography, rituals, music, and dramaturgy for her reconstructed Prometheus Bound by Aeschylus in light of her research on ancient Greek culture, conducted in both Paris and modern Greece. Based on silent film records of Palmer Sikelianos’s 1930 festival, her autobiography, her collaborations with Natalie Clifford Barney on Greek-themed theatricals in the early 1900s, and comparisons to the movement vocabulary and other contemporary stagings of ancient Greek festivals and sport, the chapter demonstrates how Palmer Sikelianos navigated between the needs and methods of the archaeologist and those of the performer. She blended the oldest sources on ancient Greek ritual music and dance that she could find with what she saw as an authentic “spirit” of Greek culture that she observed in modern Greek society. Her performances drew from archival/archaeological courses (ancient treatises, dance iconography) and lived practices (folk song, modern dance, Byzantine chant traditions). Like the Ballets Russes’s re-enactment of ancient Greece in Daphnis et Cholé and L’Après-midi d’un Fauné and pagan Rus’s in Le Sacre du printemps [The Rite of Spring], Palmer Sikelianos’s project to re-enact “authentic” Greek theater and choreography illustrates that theories of theatrical historical reconstruction in the early twentieth century were heavily influence by contemporary theatrical, political, and social events.

Ritual Music from Bali III: The Gong Gede from Sulahan

1990 ◽  
Vol 34 (1) ◽  
pp. 185
Author(s):  
David Harnish ◽  
Danker H. Schaareman ◽  
Barni Palm ◽  
Monika Nadolny
Keyword(s):  
Ritual Music
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