scholarly journals MERANGKAI WARNA: EKSPLORASI LARAS “PELOG” DALAM PERMAINAN ‘OUD ARABIS BERBASIS GARAPAN “WORLD MUSIC”

2020 ◽  
Vol 2 (2) ◽  
pp. 149
Author(s):  
Irwansyah Harahap
Keyword(s):  
Musical Instrument ◽  
World Music ◽  
Musical Composition ◽  
Rhythmic Structure ◽  
Musical Practice ◽  
Concept Building

ABSTRACT This writing generally discusses the term “world music” and various musical creative approaches that have been done. This writing also descriptively reviews the composition of “Merangkai Warna” in the context of melodist’s idea, instrument, concept building, and musical practice in musical composition. The musical composition “Merangkai Warna” is a musical composition inspired from the conception of world music. This composition is a form of musical exploration, namely through a set of musical instrument ‘oud Arabis, it tried to fuse and synthesize musical idioms and aesthetics via the composition of pentatonic playing style found in the area of musical era in Asia. In this composition, there is a concept of a new rhythm play called as “hetero-poly-metric rhythmic structure,” in which the basis of rhythmical play is built on metrical 7 contra 3 pattern applied in the percussion play of kendangan Sunda and ’oud. Keywords: World music, pelog, pentatonic, hetero-poly-metric rhythmic structure  ABSTRAK Tulisan ini membicarakan secara umum tentang istilah “world music” dan berbagai pendekatan kreatif musikal yang telah dikerjakan. Tulisan ini juga mengulas secara deskriptif karya komposisi “Merangkai Warna” dalam konteks gagasan kompositoris, instrumetarium, bangunan konsep, dan praktik musikal dalam karya musik. Komposisi musik “Merangkai Warna” merupakan sebuah garapan musik berangkat dari konsepsi musik dunia (world music).  Karya ini merupakan sebuah bentuk eksplorasi musikal dimana melalui perangkat alat musik ‘oud Arabis mencoba untuk memfusikan dan mensintesiskan idiom dan estetika musik lewat garapan gaya permainan modus pentatonik yang terdapat di wilayah peradaban musik di Asia. Dalam karya komposisi ini tertuang satu konsep permainan ritme baru, yang disebut dengan “hetero-poly-metric rhythmic structure,” dimana dasar permainan ritmikal dibangun dari pola metrikal 7 kontra 3 yang dituangkan dalam permainan perkusi kendangan Sunda  dan ’oud. Kata Kunci: World music, pelog, pentatonic, hetero-poly-metric rhythmic structure

Experiment role in the world music (based on the «The Road» album of the Ukrainian «Dakha Brakha» band)

2018 ◽  
pp. 215-227
Author(s):  
Iia Fedorova
Keyword(s):  
Folk Music ◽  
World Music ◽  
The Other ◽  
Modern Music ◽  
Musical Practice ◽  
The Road ◽  
Music Practice ◽  
The World ◽  
Binary Oppositions ◽  
Musical Practices

The main objective of this study is the substantiation of experiment as one of the key features of the world music in Ukraine. Based on the creative works of the brightest world music representatives in Ukraine, «Dakha Brakha» band, the experiment is regarded as a kind of creative setting. Methodology and scientific approaches. The methodology was based on the music practice theory by T. Cherednychenko. The author distinguishes four binary oppositions, which can describe the musical practice. According to one of these oppositions («observance of the canon or violation of the canon»), the musical practices, to which the Ukrainian musicology usually classifies the world music («folk music» and «minstrel music»), are compared with the creative work of «Dakha Brakha» band. Study findings. A lack of the setting to experiment in the musical practices of the «folk music» and «minstrel music» separates the world music musical practice from them. Therefore, the world music is a separate type of musical practice in which the experiment is crucial. The study analyzed several scientific articles of Ukrainian musicologists on the world music; examined the history of the Ukrainian «Dakha Brakha» band; presented a list of the folk songs used in the fifth album «The Road» by «Dakha Brakha» band; and showed the degree of the source transformation by musicians based on the example of the «Monk» song. The study findings can be used to form a comprehensive understanding of the world music musical practice. The further studies may be related to clarification of the other parameters of the world music musical practice, and to determination of the experiment role in creative works of the other world music representatives, both Ukrainian and foreign. The practical study value is the ability to use its key provisions in the course of modern music in higher artistic schools of Ukraine. Originality / value. So far, the Ukrainian musicology did not consider the experiment role as the key one in the world music.

scholarly journals A survey to investigate advanced musicians’ flow disposition in individual music practice

2018 ◽  
Vol 37 (1) ◽  
pp. 107-117 ◽  
Author(s):  
Marcos V. Araújo ◽  
Christopher F. Hein
Keyword(s):  
Teaching And Learning ◽  
Task Complexity ◽  
Daily Practice ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Practice ◽  
Music Practice ◽  
Loss Of Self ◽  
Practice Experience ◽  
Practice Time

This study explored advanced musicians’ dispositions to flow in musical practice. A total of 168 classically trained musicians answered a questionnaire assessing their proneness for flow experience during musical practice and associations between flow and demographic factors, practice routines and musical instruments. Dispositions to flow in musical practice did not vary across musical instrument groups, age or gender. Positive associations were found between daily practice time and flow, suggesting that flow may contribute to engagement with daily practice. Negative associations between music practice experience and loss of self-consciousness and challenge–skill balance were found, suggesting that even among experts the level of task complexity during practice may affect perceptions of competence. While six individual flow indicators were frequently experienced, three indicators were much less experienced, pointing to the existence of another similar relevant experience in the practice of expert performers, named as optimal practice experience. The article finishes with implications regarding the benefits of flow for teaching and learning practices.

To become one with the instrument: The unfolding of a musical topography

2015 ◽  
Vol 21 (2) ◽  
pp. 207-230 ◽  
Author(s):  
Pablo Rojas
Keyword(s):  
Present Article ◽  
Musical Instrument ◽  
Point Of View ◽  
The Body ◽  
Musical Practice ◽  
Stylistic Elements ◽  
Tonal Space ◽  
Semiotic Anthropology

The present article advances the notion of musical topography to describe the engagement between a practitioner and the musical instrument, emphasizing its developmental character. From the point of view of semiotic anthropology, it is suggested that the development of such a practical engagement is guided by expressivity, and that the instrument appears not only as an extension of the body, but participates in the generation of a unitary field, where bodily motion, the instrument and the tonal space are intertwined. The development of lived musical practice draws its force from a situated tradition that consists of normative, structural and stylistic elements, and of a constellation of genres and values shaped and reshaped by generations of practitioners. Finally, it is emphasized that the notion of musical topography brings back to musical praxis its long neglected imaginative dimension.

scholarly journals Trautonium: peculiarities of compositions for the electronic musical instrument

2020 ◽  
pp. 141-148
Author(s):  
Elena Nikolaevna Piryazeva
Keyword(s):  
Electronic Music ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Composition ◽  
Audio Recordings ◽  
The Subject ◽  
The Common ◽  
Video And Audio ◽  
Characteristic Features ◽  
New Generation

The subject of this research is the electronic musical instrument trautonium and characteristic features of compositions written for this instrument. The advancement of electronic music and its instruments is substantiated by innovative transformation, constant emergence of new devices, their improvement and phasing out or transitions into a new generation of devices. One of such electronic musical instruments is trautonium, invented in the first half of the XX century. It did not gain much popularity, but gather its own repertoire and library of video and audio recordings. In the course of this research, the author applied the following methods: historical and systemic approaches; methods of integral, structural, stylistic, and comparative analysis. The novelty is defined consists in the subject of research, range of compositions attracted for musicological analysis, and the angle of their view. The author determines the common to compositions for trautonium concert character of performance reflected in the set of aesthetic and technological principles on various levels of musical composition.

8. World music matters

2020 ◽  
pp. 115-132
Author(s):  
Philip V. Bohlman
Keyword(s):  
Climate Change ◽  
21St Century ◽  
Musical Instrument ◽  
World Music ◽  
Equal Footing ◽  
Instrument Creation

‘World music matters’ looks at the sites of music and musical instrument creation under threat from climate change. The word ‘matter’ refers not only to the significance but the materiality of world music and sound itself. As diasporas expand, the routes and borders they once travelled are closing. From the Calais Jungle to Babylon Orchestra, world musicians collaborate with each other and create new fusions. In the 21st century, world music is more diverse than ever, and we must find new ways to sustain and engage with world music that put the musician and the ethnographer on an equal footing.

Cracking God’s roof: Manifestation and adaptation on the intuitive nature of creating electronic music with tablet computers

2020 ◽  
Vol 18 (1) ◽  
pp. 73-89 ◽  
Author(s):  
Willard G. Van De Bogart
Keyword(s):  
Electronic Music ◽  
Classical Music ◽  
Musical Instrument ◽  
Musical Composition ◽  
Tablet Computer ◽  
Tablet Computers ◽  
Art Form ◽  
Live Music ◽  
New Ideas ◽  
The Way

Electronic music is advancing not only in the way it is being used in performance but also in the technological sense, due to software developers advancing the ability of the synthesizer to enable the composer to create newer sounds. The introduction of the amino acid and protein synthesizers from MIT is one such example, along with sampling sounds from interstellar bodies through the process of sonification in order to create presets as additional source material for the composer’s palette. The creative process used in creating electronic music on a tablet computer introduces a new musical instrument to be used in live music performances. The fluidity and immediacy of how electronic sounds can be created with tablet computer synthesizers affords the composer to have a new behavioural sense of using them as a musical instrument that can be played intuitively. Exploring this new interface of musical composition is a subject this article will address as well as the psychological aspects pertaining to how an audience can relate to electronic music as an emerging art form removed from the classical music tradition. It will also discuss how the composer of electronic music can affect the listener’s ability to envision new conceptual landscapes, leading to experiencing new ideas and subjective fields of visionary understandings. The composer’s ability to use conceptual models, which influence the way sounds are made and how those sounds influence the listener’s experience, is an important focus of this article.

Kepler and the Song of the Earth

2014 ◽  
Author(s):  
Peter Pesic
Keyword(s):  
World Music ◽  
Musical Experience ◽  
Web Browsers ◽  
Musical Practice ◽  
Johannes Kepler ◽  
The Earth ◽  
Novel Approach ◽  
The World

Johannes Kepler, more than anyone, incorporated music into the foundations of his innovative astronomy. This chapter relates his interest in musical practice to his novel approach to its theory, which moved him to reject algebraic results that contradicted musical experience. Kepler’s search for cosmic polyphony points to Orlando di Lasso’s In me transierunt as a moving expression of the “song of the Earth,” down to the melodic spelling of the Earth’s song. Kepler presents cosmos and music as essentially alive and erotically active, based on his sexual understanding of numbers. The pervasive dissonance of the cosmic harmonies reflects the throes of war and eros. Like Oresme, Kepler realized the essential incompleteness of the cosmic music, which seemingly could never reach a final cadence, a universal concord on which the world-music could fittingly end. This would have been a heretical view, contradicting scriptural teachings about the finitude of time. Kepler treats this as an indication of divine infinitude, inscribed in the finite cosmos. Throughout the book where various sound examples are referenced, please see http://mitpress.mit.edu/musicandmodernscience (please note that the sound examples should be viewed in Chrome or Safari Web browsers).

Uncommon music making: The functional roles of music in design for healthcare

2019 ◽  
Vol 11 (4) ◽  
pp. 245
Author(s):  
Elif Özcan ◽  
Lois Frankel ◽  
Jesse Stewart
Keyword(s):  
Musical Instrument ◽  
Positive Influence ◽  
World Music ◽  
Medical Patients ◽  
Community Members ◽  
Socially Responsible ◽  
Persons With Disabilities ◽  
Functional Roles ◽  
Adaptive Use ◽  
Sensory Experiences

In this paper, we discuss some uncommon settings and roles for music, demonstrating how music can aid in the design and implementation of socially responsible healthcare products that are encouraging, inclusive, and sensitive to critical contexts. We review three music-inspired design cases (CareTunes: Musical Alarms for Critical Care, Music and Senior Exercise, and We Are All Musicians and the Adaptive Use Musical Instrument) in which the authors took part. The literature review and the analysis of the case studies provide us with the following insights: music enhances sensory experiences, facilitates physical engagement with the world, music can guide medical professionals in critical contexts, and music creates social cohesion. All of these projects demonstrate the importance of involving participants (users or performers) in the process to address their life experiences.  Thus, the use of music in design applications is experienced as a positive influence that can facilitate wellbeing for community members, persons with disabilities, medical patients, and healthcare professionals in the workplace. 

Accessibility and participation in the use of an inclusive musical instrument: The case of MotionComposer

2019 ◽  
Vol 12 (1) ◽  
pp. 79-94 ◽  
Author(s):  
Alicia Peñalba ◽  
María-José Valles ◽  
Elena Partesotti ◽  
María-Ángeles Sevillano ◽  
Rosario Castañón
Keyword(s):  
Motion Capture ◽  
Musical Instrument ◽  
Musical Instruments ◽  
The Other ◽  
Musical Experience ◽  
Digital Instrument ◽  
Musical Practice ◽  
Different Ages

Digital musical instruments (DMI) can make musical practice accessible to non-trained persons or to persons with limitations related to their age, gender or musical experience. The present study explores accessibility and participation in a sample of 266 individuals using a device named MotionComposer, a digital instrument based on motion capture. By experimenting with this device during four minutes in two different environments (one causal, the other one more aprioristically determined), we study the kind of participant interaction that takes place. Results show that MotionComposer allows for a statistically significant similar interaction in people of different ages and genders and with different disabilities. However, there are two exceptions that can be accounted for in connection with the causality-randomness of the two environments where the experimentation takes place.

scholarly journals Ecoacoustic and shamanic technologies for multimedia composition and performance

2005 ◽  
Vol 10 (1) ◽  
pp. 3-19 ◽  
Author(s):  
MATTHEW BURTNER
Keyword(s):  
Musical Instrument ◽  
Instrument Design ◽  
Musical Composition ◽  
Close Connection ◽  
Composition Theory ◽  
Far North ◽  
Environmental Systems ◽  
The Creation ◽  
And Performance ◽  
Multimedia Performance

The author's close connection to traditional Alaskan culture has inspired the creation and implementation of new multimedia instruments based on the use of ritual objects in shamanic cultures of the far north. Simultaneously, the musical processes articulated by this music are structurally tied to environmental systems in a technique discussed here as ‘ecoacoustics’. In this work, performer/composer interaction, musical composition theory, multimedia performance, and musical instrument design have been transformed in response to these influences.

Sign in / Sign up

Export Citation Format

Share Document