The Annah Rais Pratuokng and the Practical Appearance of Re-invented Musical Instruments

2021 ◽  
pp. 91-112
Author(s):  
Ahmad Faudzi Musib
Keyword(s):  
Musical Instrument ◽  
Musical Instruments ◽  
The Other ◽  
Ritual Practice ◽  
The Voice ◽  
Privately Owned

The Annah Rais pratuokng is a traditional musical instrument of the Bidayuh. It is also known as a simple idiochord chordophone. It is made of a petung bamboo, and the sound faculty is equivalent to the functions of the Bidayuh community gong set. The sound radiator meaning is made up of tawak, satuk and canang. A similar tube zither made of bamboo, named pretong or sretong, is used by the Bidayuh of Bau. The three-string sound radiators are kromong, canang, gong, plus the tawak and gedabak. Pratuokng sound radiators are like the gongs of the Bidayuh. According to Horsbourgh's observation, "... gongs... are both a musical instrument and a representation of wealth”2. The Annah Rais Bidayuh gong set, privately owned by the villagers, can be typically played every year for ritual practice as well as for entertainment during the Gawai celebration on the first and second June. The audio collection of the Ethnology Section of the Sarawak Museum provides similar recordings from other occasions than played duringGawai Panggah. Also, some groups’ celebrations among the Bidayuh Biata, Bidayuh Selakau, and Lara, Bidayuh Lara were recorded. Few recordings were collected in Annah Rais between 1988 and 1998, which still maintain the same settings as those recorded in Kupuo Saba of Annah Rais to this date. In the context of the use of gongs during celebrations, the representations of gong tones can also be found on a pratuokng. One point of debate in the literature about tube zithers is, whether the voice functions found in the gong collection mimic the string voices found on the pratuokng or the other way round. Does this fact serve as a featured phenomenon to the actual appearance of re-invented musical instruments? Does it contribute to its sustainable appearance today?

A Study of Musical Instrument Pictographs on Zuojiang Huashan Rock Arts

2020 ◽  
Vol 6 ◽  
pp. 1-16
Author(s):  
Huang Yu [黄羽]
Keyword(s):  
Ethnic Group ◽  
Music History ◽  
Musical Instrument ◽  
Han Dynasty ◽  
Musical Instruments ◽  
The Other ◽  
Western Han Dynasty ◽  
Historical Materials ◽  
Depth Study ◽  
History Of

The Huashan Rock Arts represent the rock pictographs in the Zuojiang River Basin. They record the unique sacrificial scenes by Luoyue people from the 5th century BC to the 2nd century AD. Historical materials, unearthed cultural relics and existing folk customs all prove that the distinguishable musical instrument pictographs on the rock arts include bronze drums, sheep-horn knob bells, ling (small bells with a clapper), etc. All of these also explains why these musical instruments appear on those pictographs, further emphasizing the importance attributed to them on dividing the history of the rock arts into certain periods. This study has found out that after the Western Han Dynasty, the sheep-horn knob bells gradually lost the function of ceremonial and musical instruments due to the destruction of the rite system, thus withdrawing from the historical arena. On the other hand, the artisanship of bronze drums has become more and more exquisite, highlighting its three-fold use for rites, rituals and musical instruments. The drums also continue to occupy a significant part of the music history of the Luoyue ethnic group. Through an in-depth study of the musical instrument pictographs, the music history of the Luoyue is further, clarified and understood.

The singing lesson. Phenomenology of the non-verbal dynamics appearing in studying the Instrument-voix

2008 ◽  
Vol 12 (1_suppl) ◽  
pp. 111-128 ◽  
Author(s):  
Alessia Rita Vitale
Keyword(s):  
Detailed Analysis ◽  
Teaching And Learning ◽  
Musical Instrument ◽  
Systematic Investigation ◽  
Musical Instruments ◽  
Point Of View ◽  
Dynamic Processes ◽  
Human Sciences ◽  
Verbal Language ◽  
The Voice

The novelty of this approach lies in studying singing from the point of view the multifunctionality and polyvalence of the voice in all the typically plural dimensions that contribute to making it a unique instrument, the only instrument embodied/ incarnated in its interpreter, both material and transcendent. An “object” both external and internal, both the most intersubjective and the most personal — to the point of requiring “someone other than oneself” to help one take one's distance from it to study it — the voice has the faculty of bringing together simultaneously the polar opposites of Being. With a methodology at the crossroads of the human sciences, this study forms part of a broader systematic investigation I engaged in concerning the detailed analysis of the singing lesson and the comparison of its specific psycho-dynamic processes with those involved in the learning of other musical instruments. I deal with the role and influence that non-verbal/non-vocal languages assume in the teaching and learning about the voice in its singing dimension when it is used with the value of a musical instrument. This is what I refer to as the “instrument-voix”. The notion of gesture is of pivotal importance in non-verbal language, and this notion is twofold in nature: it involves the problematic of Time, which (itself) necessarily involves that of Memories. Dealt with here will be the influence of nonverbal languages upon mnesic activities.

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.

Toward a triangular theory of love for one’s musical instrument

2020 ◽  
pp. 030573562096114
Author(s):  
Robert J Sternberg
Keyword(s):  
Emotional Support ◽  
Musical Instrument ◽  
Musical Instruments ◽  
The Other ◽  
The Relationship ◽  
Three Components

This article presents an application of a triangular theory of love as it applies to love for musical instruments. The triangular theory comprises three components: intimacy, passion, and commitment. Intimacy, which is primarily emotional, refers to feelings of closeness, connectedness, warmth, communication, and emotional support. Passion, which is primarily motivational, refers to feelings that one cannot live without another, that one needs another in one’s life, and that one cannot even imagine one’s life without the other. Commitment refers to the decision to love and to stay in the relationship indefinitely. These components are applied in the article toward love of musical instruments, and the theory is given as an account of some of the factors that may lead students of musical instruments either to stay with those instruments or to quit playing them. A measure is described that could be used to assess love of musical instruments (and that is currently being validated), and empirical findings from past studies on the triangular theory of love are presented.

The Ethnology of African Sound-Instruments. Comments on Geist und Werden der Musikinstrumente by C. Sachs

Africa ◽  
1933 ◽  
Vol 6 (2) ◽  
pp. 129-157 ◽  
Author(s):  
E. M. Von Hornbostel
Keyword(s):  
Musical Instrument ◽  
Musical Instruments ◽  
The Other ◽  
Human Voice ◽  
Other Hand ◽  
Cultural Research

Musical instruments are in so far of importance for cultural research as they partake, in an almost unparalleled degree, of the nature of both material and mental culture. They can be seen and handled and, in addition to this advantage, possess many qualities unconnected with their immediate purpose; purity, copiousness, and beauty of sound are historically the latest properties sought after, and aimed at technically. (For purposes of research everything must count as a musical instrument with which sound can be produced intentionally and, for this reason, it is advisable to use the term ‘sound-producing instruments’.) The fact of their giving forth sound classes them at once among ‘live’ objects and lends them an effect akin to that of speech and song. That their sounds are not those of the human voice invests them with a mysterious and superhuman potency. It would be hard to find a sound-instrument which had not originally a ritual or magical significance, and which had not served for an indefinite period as a secular amusement for adults before being finally passed on to the children. Ritual use is always therefore an indication of great antiquity. On the other hand, objects which are indiscriminately used at any time and by any person may be suspected of dating from a later period, or of having been imported from without.

scholarly journals A Guarneri violin in the attic: the power of dendrochronology for analysing musical instruments

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Mauro Bernabei
Keyword(s):  
Tree Ring ◽  
Ring Width ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Annual Growth ◽  
Growth Rings ◽  
Non Invasive ◽  
Annual Growth Rings ◽  
Privately Owned ◽  
Supply Information

AbstractDendrochronology is the science that dates wooden artefacts by measuring annual growth rings visible in the wood. And, in the case of musical instruments, the method is non-invasive. In addition, dendrochronology can also help to identify the wood’s provenance and to supply information on how the soundboard was made, giving details of ring width and regularity. This study also demonstrates the effectiveness of dendrochronology in attributing a musical instrument to an important luthier. It deals with a privately owned violin, whose date and origin had previously remained uncertain, despite various attempts to authenticate, at least, its technical and stylistic characteristics. The outermost tree-ring of the instrument’s soundboard was dendrochronologically dated to the year 1696 and attributed, with certainty, to the Italian luthier Giuseppe Guarneri filius Andreae, father of the famous Bartolomeo Giuseppe Guarneri "del Gesù". Thanks to dendrochronology, in this way, a twin of an already existing violin has been identified that was made by the same luthier. Both violins are identical in construction, having the same veining and dimensions, and the wood from the same tree was used in all parts, including the soundboard. Dendrochronology has, thus, been proven to be an extremely useful method, which has transformed a violin of uncertain value into a museum piece.

Indonesian Literature’s Position in World Literature

TEKNOSASTIK ◽  
2018 ◽  
Vol 14 (2) ◽  
pp. 1
Author(s):  
Dina Amelia
Keyword(s):  
World Literature ◽  
The Other ◽  
National Literature ◽  
Western World ◽  
The World ◽  
The One ◽  
The Voice

There are two most inevitable issues on national literature, in this case Indonesian literature. First is the translation and the second is the standard of world literature. Can one speak for the other as a representative? Why is this representation matter? Does translation embody the voice of the represented? Without translation Indonesian literature cannot gain its recognition in world literature, yet, translation conveys the voice of other. In the case of production, publication, or distribution of Indonesian Literature to the world, translation works can be very beneficial. The position of Indonesian literature is as a part of world literature. The concept that the Western world should be the one who represent the subaltern can be overcome as long as the subaltern performs as the active speaker. If the subaltern remains silent then it means it allows the “representation” by the Western.

Wacana Kolonial dalam Novel Max Havelaar: Sebuah Kajian Poskolonial

Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 411
Author(s):  
Abu Bakar Ramadhan Muhamad
Keyword(s):  
Point Of View ◽  
The Other ◽  
The Novel ◽  
Colonial Discourse ◽  
The Impact ◽  
The Voice

AbstrakHegemoni kolonialisme dalam budaya poskolonial merupakan alasan penelitian inikemudian mengkaji wacana kolonial dalam novel Max Havellar (MH) khususnya dampakditimbulkannya. Dampak dimaksud adalah posisi keberpihakan pemikiran tersirat darikarya tersebut. Hasil pembahasan menunjukkan, secara temporal maupun permanen MHmenyuarakan ketidakadilan dalam kondisi-kondisi kolonial menyangkut penindasan sangpenjajah terhadap terjajah. Hanya saja, upaya mengatasnamakan atau mewakili suarakaum terjajah terbukti mengimplikasikan ciri ideologis statis kerangka kolonialisme(orientalisme); yakni cara pandang Eropasentris, di mana “Barat” sebagai self adalah superior,dan “Timur” sebagai other adalah inferior. Dalam konteks poskolonialisme, MH dengan sifatkritisnya yang berupaya “menyuarakan” nasib pribumi terjajah, justru menampilkan stigmapenguatan kolonialitas itu sendiri secara hegemonik. Artinya, “menyuarakan” nasib pribumidimaknai sebagai keberpihankan kolonial yang kontradiktif, di mana stigma penguatankolonialitas justru lebih terasa, ujung-ujungnya melanggengkan hegemoni kolonial. Tidakmembela yang terjajah, tetapi memperhalus cara kerja mesin kolonial.AbstractThe hegemony of colonialism in the culture of postcolonial society is the reason this studythen examines the colonial discourse in the novel Max Havellar (MH) in particular the impactit brings. The impact in question is the implied position of thought in the work. The resultsof the discussion show that, temporarily or permanently, MH voiced injustice in the colonialconditions regarding the oppression of the colonist against the colonized. However, the effort toname or represent the voice of the colonized has proven to imply a static ideological characterin the framework of colonialism (orientalism); ie Eropacentric point of view, in which “West” asself is superior, and “East” as the other is the inferior. In the context of postcolonialism, MH withits critical nature that seeks to “voice” the fate of the colonized natives, actually presents thestigma of strengthening coloniality itself hegemonicly. That is, “voicing” the fate of the pribumiis interpreted as a contradictory colonial flare, where the stigma of strengthening colonialityis more pronounced, which ultimately perpetuates the hegemony of colonialism. No longerdefending the colonized, but refining the workings of the colonial machinery.

The Proximity of Other Skins

2019 ◽  
Author(s):  
Celine Parreñas Shimizu
Keyword(s):  
United States ◽  
South Korea ◽  
The United States ◽  
The Philippines ◽  
The Other ◽  
The West ◽  
Pain And Suffering ◽  
The Spectator ◽  
Existing Frames ◽  
The Voice

Transnational films representing intimacy and inequality disrupt and disgust Western spectators. When wounded bodies within poverty entangle with healthy wealthy bodies in sex, romance and care, fear and hatred combine with desire and fetishism. Works from the Philippines, South Korea, and independents from the United States and France may not be made for the West and may not make use of Hollywood traditions. Rather, they demand recognition for the knowledge they produce beyond our existing frames. They challenge us to go beyond passive consumption, or introspection of ourselves as spectators, for they represent new ways of world-making we cannot unsee, unhear, or unfeel. The spectator is redirected to go beyond the rapture of consuming the other to the rupture that arises from witnessing pain and suffering. Self-displacement is what proximity to intimate inequality in cinema ultimately compels and demands so as to establish an ethical way of relating to others. In undoing the spectator, the voice of the transnational filmmaker emerges. Not only do we need to listen to filmmakers from outside Hollywood who unflinchingly engage the inexpressibility of difference, we need to make room for critics and theorists who prioritize the subjectivities of others. When the demographics of filmmakers and film scholars are not as diverse as its spectators, films narrow our worldviews. To recognize our culpability in the denigration of others unleashes the power of cinema. The unbearability of stories we don’t want to watch and don’t want to feel must be borne.

scholarly journals Characterizing prototypical musical instrument timbres with Timbre Trait Profiles

2021 ◽  
pp. 102986492110015
Author(s):  
Lindsey Reymore
Keyword(s):  
Musical Instrument ◽  
Musical Instruments ◽  
Latent Structure ◽  
Dimensional Model ◽  
Wind Ensembles ◽  
Rating Data ◽  
Corpus Studies ◽  
Cognitive Research ◽  
Euclidean Distances ◽  
Semantic Distances

This paper offers a series of characterizations of prototypical musical timbres, called Timbre Trait Profiles, for 34 musical instruments common in Western orchestras and wind ensembles. These profiles represent the results of a study in which 243 musician participants imagined the sounds of various instruments and used the 20-dimensional model of musical instrument timbre qualia proposed by Reymore and Huron (2020) to rate their auditory image of each instrument. The rating means are visualized through radar plots, which provide timbral-linguistic thumbprints, and are summarized through snapshot profiles, which catalog the six highest- and three lowest-rated descriptors. The Euclidean distances among instruments offer a quantitative operationalization of semantic distances; these distances are illustrated through hierarchical clustering and multidimensional scaling. Exploratory Factor Analysis is used to analyze the latent structure of the rating data. Finally, results are used to assess Reymore and Huron’s 20-dimensional timbre qualia model, suggesting that the model is highly reliable. It is anticipated that the Timbre Trait Profiles can be applied in future perceptual/cognitive research on timbre and orchestration, in music theoretical analysis for both close readings and corpus studies, and in orchestration pedagogy.

Sign in / Sign up

Export Citation Format

Share Document