Journal articles on the topic 'Ethnomusicological theory'
To see the other types of publications on this topic, follow the link: Ethnomusicological theory.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 23 journal articles for your research on the topic 'Ethnomusicological theory.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Rice, Timothy. "Ethnomusicological Theory." Yearbook for Traditional Music 42 (2010): 100–134. http://dx.doi.org/10.1017/s0740155800012686.
Full textAbstract:
“Ethnomusicological theory,” despite its name and despite the fact that it in some ways permeates our field, has yet to take firm root in our disciplinary imagination. Indeed, the phrase appears to be used rarely, in comparison to references to an unmodified “theory” in or for ethnomusicology. Minimally, ethnomusicology today engages with three types of theory: social theory, music theory, and discipline-specific ethnomusicological theory. Unmodified references to theory have tended to obfuscate the nature of ethnomusicological theory and have left ethnomusicologists a bit unsure, and perhaps even insecure, about the relevance and place of theory, however understood, in their work.
2
Loughran, Maureen. "“But what if they call the police?” Applied Ethnomusicology and Urban Activism in the United States." Musicological Annual 44, no. 1 (December 1, 2008): 51–68. http://dx.doi.org/10.4312/mz.44.1.51-68.
Full textAbstract:
This article explores the difficulties and necessities of applied ethnomusicological research in an urban American neighborhood. A theory of method for activist centered work which connects academia with local, grassroots communities is discussed as well as the challenges of positioning oneself as an applied ethnomusicologist in the field.
3
Witzleben, J. Lawrence. "Performing in the Shadows: Learning and Making Music as Ethnomusicological Practice and Theory." Yearbook for Traditional Music 42 (2010): 135–66. http://dx.doi.org/10.1017/s0740155800012698.
Full textAbstract:
In this article, I am concerned with the ways in which engagement with performance has shaped—and continues to shape—the ideas and theoretical perspectives of ethnomusicologists. In many ethnomusicology programmes (including several I have been in as a student or teacher), graduate students are required to participate in performing ensembles, take lessons both at home and in the field, and participate in performance as part of their thesis or dissertation research, yet the rationale for these widespread practices is not easy to decipher from contemporary definitions or overviews of the field. While my formal studies of ethnomusicology took place in the United States, and much of the literature discussed here is an outgrowth of North American practices, my perspectives are also shaped by more than two decades of teaching, research, and interaction with scholars and performers in East Asia. Although I will make reference to researchers and developments in Hong Kong, mainland China, Japan, and Korea, the stories of ethnomusicology and performance in those locales deserve articles of their own, and I do not even pretend to speak for practices and issues elsewhere in Asia or in Europe, Latin American, Africa, or Oceania. Nevertheless, I believe that the issues raised here are of at least potential interest to all those involved in the intersection of music and ethnography, and I hope that these preliminary ideas will inspire comparative perspectives from scholars elsewhere.
4
Loza, Steven. "Challenges to the Euroamericentric Ethnomusicological Canon: Alternatives for Graduate Readings, Theory, and Method." Ethnomusicology 50, no. 2 (April 1, 2006): 360–71. http://dx.doi.org/10.2307/20174460.
Full text
5
Dovhalyuk, Iryna, and Lina Dobrianska. "Ethnomusicology of Ukraine at the Turn of XX–XXI Centuries (1991–2022): Science, Publications, Conferences." Problems of music ethnology 17 (November 17, 2022): 5–15. http://dx.doi.org/10.31318/2522-4212.2022.17.270892.
Full textAbstract:
The long-awaited times of Independence opened wide opportunities for Ukrainian ethnomusicologists. In the last issue of Problems of Ethnomusicology”, we began to review the achievements of the latest Ukrainian musical folklore studies during the years of Independence: we identified the main ethnomusicological centers and characterized their activities, considered ethnomusicological pedagogy, achievements in the field of documenting folk music – its collection and archiving. In this issue, we want to focus on such important areas as scientific, publishing and conference activities.
The relevance of our research is due to the need to paint a general picture of the achievements and, possibly, omissions of domestic ethnomusicology over the past 30 years. This will significantly complement the existing historiographical studies, focusing mainly only on certain aspects or certain periods of development of Ukrainian musical folkloristics.
Scientific research is a more expressive result of the work of Ukrainian ethnomusicologists of the period of Independence. They show a variety of interests, depths in scientific research, openness to knowledge and increasing the achievements of world ethnomusicology. There are such more important research areas of Ukrainian scientists: the theory of ethnomusicology, areal-typological research, historical studies, organology, ethnochoreology, resource science, ethnoculturology and ethnomusical sociology, folk music culture of ethnic minorities in Ukraine, professional music of the oral tradition of the East, folk music acoustics, etc. These directions are different in terms of achievements, fullness, and degree of innovation, but each of them is a contribution to the pan-European and world folk music science.
Publishing activity clearly demonstrates the results of the work of Ukrainian ethnomusicologists. It was able to develop in Ukraine only after Independence when Soviet censorship disappeared. This direction has become important not only for scientific institutions themselves, but also for higher educational institutions. Thus, two professional Ukrainian annual ethnomusicological collections of articles and materials were launched at the Kyiv and Lviv Music Academies, respectively: “Problems of Ethnomusicology” (1998–2021) and “Ethnomusic” (2006–2021). Ethnomusicological articles are published in other scientific collections, mainly periodical and serial. An important place in publications of the period of Independence is occupied by the publication or reprint of the heritage of predecessors, including the epistolary. A lot of different folk music collections with vocal and instrumental folklore of different Ukrainian regions were also published.
The conference activity of Ukrainian scientists deserves special attention. One of the most important forums is the Lviv “Conferences of folk music researchers of Chervona Rus’ (Halychyna and Volodymyria) and neighboring lands” (1991–2021). The series of specialized ethnomusicological conferences was later (2011) started in Kyiv, Dnipro (2018, 2020 and 2022). It is also worth mentioning the Lviv “Kolessa’s readings” (from 2007). Young researchers also have their own conferences. Ukrainian scientists constantly participate in international scientific conferences, including ICTM (The International Council for Traditional Music) conferences.
In general, in our brief review, presented by two articles, we tried to draw a line under the modern achievements of Ukrainian musical folkloristics. Such reviews should be done regularly since Ukrainian ethnomusicology is constantly evolving. Today, researchers are working in extremely difficult conditions due to russia’s military aggression, but all of all, the work continues.
6
Denning, Michael, and Gary Tomlinson. "Cantologies." Representations 154, no. 1 (2021): 113–28. http://dx.doi.org/10.1525/rep.2021.154.9.113.
Full textAbstract:
Cantology names an approach to the songish impulses that are a ubiquitous aspect of human cultures. It aims to divert our attention from the more restricted objects of musicological and ethnomusicological scrutiny by discerning song formations, conditions of possibility that define experiences of society and history along songish lines. These formations, local phenomena in cantology’s broad purview, emerge from the interactions of levels of cultural production including the performative, the discursive, the metadiscursive, and the archaeological. We outline a cantological theory, then briefly characterize four successive song formations in the West, reaching from the sixteenth century to the twenty-first.
7
Burckhardt Qureshi, Regula. "Is Complex Music Socially Significant? Doing Ethnomusicology in South Asia." Canadian University Music Review, no. 15 (March 1, 2013): 44–69. http://dx.doi.org/10.7202/1014392ar.
Full textAbstract:
In this article, four cases of ethnomusicological research on South Asian music are presented to substantiate the social essentiality (Wesentlichkeit) of music, and therefore the complementary role of a socially-grounded approach to studying complex musical traditions. Historiographically, it is argued that this social orientation progresses logically from, and is in keeping with, the growing cosmopolitan reality of musical scholarship and of music itself. Ethnomusicology draws resourcefully from its rich, inter-disciplinary heritage of musicology, music theory, anthropology, and area studies to yield tools of musical description and analysis that are culturally appropriate, culture-specific and yet cross-cultural, this paving a foundation for a truly comparative—and "Adlerian"— musicology.
8
Bambang Afrianto. "Marhaban As A Form Of Qasidah Music Continuity In The City Of Binjai, Northern Sumatra Province." Talenta Conference Series: Local Wisdom, Social, and Arts (LWSA) 3, no. 4 (December 4, 2020): 8–10. http://dx.doi.org/10.32734/lwsa.v3i4.1121.
Full textAbstract:
This paper describes Marhaban as a form of continuity of Qasidah music, and also describes the existence of this music in the city of Binjai, as an Islamic art. This paper focuses on the discussion of Marhaban, which after being studied in more depth is a form of music that is the same as Qasidah music, both in terms of use, text, presentation, and instrumentation. Researcher use functional theory to describe the social musical context. Then use Halliday’s semiotic to analyze the text of Marhaban. To analyze the musical and instrumentation, I use ethnomusicological structure theory. This paper is a qualitative descriptive study using data collection techniques and methods of literature study and observation, which is used to explain how Marhaban is also a form of music that emerged as a continuity of early Qasidah music in Indonesia. The results are: Marhaban always used in Islamic ceremony, as marriage, circumsition, birthday, and so on. The text of Marhaban in Arabaic, with it’s theme about the histpry of Prophet Muhammad and way of life muslim. The intruments are: rebana (frame drum), and human vocal. The structure of melody used Near East system maqamat plus Malay melody improvisation (called cengkok).
9
MALL, ANDREW. "Music Festivals, Ephemeral Places, and Scenes: Interdependence at Cornerstone Festival." Journal of the Society for American Music 14, no. 1 (January 15, 2020): 51–69. http://dx.doi.org/10.1017/s1752196319000543.
Full textAbstract:
AbstractCornerstone was an annual four-day-long Christian rock festival in Illinois that ran from 1984 until 2012, first in Chicago's northern suburbs and then on a former farm in the rural western part of the state. Most attendees camped on-site, and many arrived one or two days early when the campgrounds opened before official programming started. Like many contemporary multi-day festivals in relatively rural or remote locations, Cornerstone's festival grounds and campsites functioned as a temporary village. For many attendees, music festivals have supplanted local scenes as loci of face-to-face musical life. Outside Cornerstone, participants’ musical lives might be curbed by family, professional obligations, geographic separateness, or cultural stratification. Inside the festival's physical, social, and cultural spaces, however, a cohesive music scene manifested for a brief time every year. This article examines the production of space and place at Cornerstone. In doing so, it contributes a vital link between scene theory and the growing ethnomusicological literature on festivals.
10
Perman, Tony. "Musical meaning and indexicality in the analysis of ceremonial mbira music." Semiotica 2020, no. 236-237 (December 16, 2020): 55–83. http://dx.doi.org/10.1515/sem-2018-0057.
Full textAbstract:
AbstractIn this essay I examine three different indexical processes that inform meaning during a mbira performance in Zimbabwe in order to clarify the nature of meaning in musical practice. I continue others’ efforts to provincialize language and correct the damage done by “symbolocentrism’s” continued reliance on post-Saussurian models of signification and structure by addressing processes of purpose, effect, and agency in meaning. Emphases on language and/or structure mislead explanations of musical meaning and compromise the understanding of meaning itself. By foregrounding the unique properties of indexicality in musical practice, and highlighting three distinct indexical processes that drive music’s meaning (deictic, metonym, and replica), I help free meaning from language and offer an ethnomusicological counterpoint to multidisciplinary efforts that define meaning within linguistic and physiological paradigms. Indexical meaning is direct but unpredictable, rooted in experience, embodied habits, and the here and now.
11
O., Justice, and Emmanuel O.A. "The Creation of Abelengro: A Cross-Cultural Art Music Composition." Journal of Advanced Research and Multidisciplinary Studies 1, no. 1 (May 14, 2021): 13–25. http://dx.doi.org/10.52589/jarms-mzflgssm.
Full textAbstract:
Ethnomusicology has an important mission of providing a body of musical knowledge that can be drawn on by artist-composers, performers, dancers as well as scholars in the field of music. The paper therefore presents an outcome of a creative ethnomusicological study of abele music among the Yeji people of the Bono-East Region in Ghana. Using Euba’s theory of creative ethnomusicology and Nketia’s concept of syncretism, the study highlights the indigenous elements of abele musical genre and unearths the process where these elements were used to create a musical artefact called Abelengro. Data for the study were collected through observation and adopted definitive analysis to provide the materials for the composition. The study revealed that Abele music contains rich source materials for creating a neoclassicism of African traditional music that could be enjoyed by a wide range of people. It is envisaged that these rich indigenous musical elements and idioms are harnessed by contemporary art musicians to achieve the uniqueness of African identity in art music compositions in Ghana.
12
Agustono, Budi, and Muh Takari. "CONTINUITIES AND CHANGES MUSICAL CULTURE OF MELAYU DELI." Grenek Music Journal 8, no. 2 (July 15, 2019): 78. http://dx.doi.org/10.24114/grenek.v8i2.14022.
Full textAbstract:
This paper analyze about continuities and changes Malay North Sumatra musical culture, with historical and ethnomusicological approach. We use the evolution theory, and qualitative methods in this research. Malay music North Sumatran begun in the early of Malay culture, in 1300 B.C. By this time to the first century, Malay musical culture basic on animism and dynamism, which use to ceremony activities. In firs to thirteen century Hinduism and Buddhism come to Malay culture. In this era musical culture from Hinduism and Buddhism absorbed by Malay North Sumatran, in the form as follows: raga and tala influence, some instrumets from India as tabla, mrdanga, sarenggi, and so on. Then, 13th century Islam adopted by North Sumatran in musical culture. The concep One God and adat bersendikan syarak, syarak bersendikan kitabullah has been make the main role in custom and music. The concept maqam and iqaat adopted to Malay musical culture. Th 16th century European come to Malay World, and some musical genres adopted by Malay, as dondang sayang (from branyo Portuguese), ronggeng, popular music, and so on. Today, all of musical element fusion to Malay culture with new development aesthetics.
13
Windsor, W. Luke, and Christophe de Bézenac. "Music and affordances." Musicae Scientiae 16, no. 1 (February 17, 2012): 102–20. http://dx.doi.org/10.1177/1029864911435734.
Full textAbstract:
This paper explores the extent to which ideas developed in The Senses Considered as Perceptual Systems and further refined in The Ecological Approach to Visual Perception ( Gibson, 1966 ; 1979 ) can be applied to the analysis of perception and action in musical settings. The ecological approach to perception has rarely been applied to music, although some recent work in ecological acoustics, music theory and music psychology has begun to show an interest in direct perception of events and objects. We would argue that despite this pioneering work, Gibson’s most radical and controversial idea, that of the direct perception of affordances ( Gibson, 1979 ), has not been adequately addressed in a musical context. Following an introduction to the theoretical background to affordances and a review of the ways in which previous authors have investigated ecological approaches to auditory perception, we show how both the production and perception of music can fruitfully be analysed using the concept of affordances, and how such an approach neatly integrates seemingly active and passive engagement with music. In addition, we place this ecological approach to music within a broader empirical context, giving examples of music-psychological, ethnomusicological and neuroscientific evidence which complement our more theoretical approach. In conclusion, we argue that the links between the performance, composition and reception are underpinned by the mutuality of perception and action.
14
Lukaniuk, Bohdan. "From the Musical History of Liberation Songs. Problem Essays." Ethnomusic 18, no. 1 (December 2022): 25–64. http://dx.doi.org/10.33398/2523-4846-2021-18-1-25-64.
Full textAbstract:
Liberation song is a special genre of mass oral and writing art which expresses the spirit of protest, the people’s struggle against oppression, their rights of freedom, for their social, national, and universal rights, and it is an effective means of orienta- tion and organizing the vast majority of society. Such a song is usually attributed to an author if necessary, and, having become widespread and even often worldwide, it is adopted into folklore. Such songs can also to some extent be modified due to the influence of public artistic thinking. Therefore its theory, history and practice create apparent ethnomusicological research interest. The proposed problem essays discuss the history of five popular Ukrainian (or those of countries closely related to Ukraine) liberation songs – older and newer, both in terms of appearing during the last three centuries (1654–1921), and in musical and poetic style. According to their international significance, their original sources, and the way evolutions are revealed, most are still little known or completely unknown. These mostly debatable attempts to resolve the issues require further studies, which are sure to open more than a few fascinating pages in the country’s past. This issue of “Ethnomusic” includes the following three essays (previously see: [Lukanyuk 2022a]). Keywords: liberation song, Ukraine, primary sources, musical history, ways of evolution.
15
Lukaniuk, Bohdan. "From the musical history of liberation songs. Problem essays." Ethnomusic 18, no. 1 (December 2022): 25–64. http://dx.doi.org/10.33398/2523-4846-2022-18-1-25-64.
Full textAbstract:
Liberation song is a special genre of mass oral and writing art which expresses the spirit of protest, the people’s struggle against oppression, their rights of freedom, for their social, national, and universal rights, and it is an effective means of orienta- tion and organizing the vast majority of society. Such a song is usually attributed to an author if necessary, and, having become widespread and even often worldwide, it is adopted into folklore. Such songs can also to some extent be modified due to the influence of public artistic thinking. Therefore its theory, history and practice create apparent ethnomusicological research interest. The proposed problem essays discuss the history of five popular Ukrainian (or those of countries closely related to Ukraine) liberation songs – older and newer, both in terms of appearing during the last three centuries (1654–1921), and in musical and poetic style. According to their international significance, their original sources, and the way evolutions are revealed, most are still little known or completely unknown. These mostly debatable attempts to resolve the issues require further studies, which are sure to open more than a few fascinating pages in the country’s past. This issue of “Ethnomusic” includes the following three essays (previously see: [Lukanyuk 2022a]). Keywords: liberation song, Ukraine, primary sources, musical history, ways of evolution.
16
Noble, Charissa. "‘Extended’ vocal techniques in the institution: The Extended Vocal Techniques Ensemble at the Center for Musical Experiment at UCSD." Journal of Interdisciplinary Voice Studies 7, no. 2 (December 1, 2022): 137–62. http://dx.doi.org/10.1386/jivs_00062_1.
Full textAbstract:
In the decades following the Second World War, novel sound technologies and the proliferation of ethnomusicological field recordings ignited curiosity and experimentation among many musicians; these cultural phenomena also sparked a re-examination of conventional Euro-American musical sound sources. Classically trained instrumentalists and singers – particularly those associated with the ‘experimental tradition’ – cultivated intentionally idiosyncratic musical practices and widened their range of sonic possibility; this cultural zeitgeist included a heightened interest in so-called extended vocal techniques. In this article, I examine the research and creative output of the Extended Vocal Techniques Ensemble (EVTE) of the University of California at San Diego (UCSD). Drawing from published literature, interviews and archival sources to write this account of the EVTE’s multifaceted work, I contextualize the group’s activities within UCSD’s interdisciplinary emphasis as well as in the broader social–historical discourses of ‘extended vocal techniques’. Furthermore, I address the implications of their story within the broader politics of vocal aesthetics and pedagogy in Euro-American classical music contexts. By unearthing the EVTE’s interdisciplinary vision for vocal study, I hope to not only spark interest in this ensemble’s contributions, but also to revive (and build upon) their vision of a radically reimagined vocal artistry and study in academic music and beyond.
17
Adedeji, Femi. "Singing and Suffering in Africa A Study of Selected Relevant Texts of Nigerian Gospel Music." Matatu 40, no. 1 (December 1, 2012): 411–25. http://dx.doi.org/10.1163/18757421-040001027.
Full textAbstract:
A major aspect of African music which has often been underscored in Musicological studies and which undoubtedly is the most important to Africans, is the textual content. Its significance in African musicology is based on the fact that African music itself; whether traditional ethnic, folk, art or contemporary, is text-bound and besides, the issue of meaning 'what is a song saying?' is paramount to Africans, whereas to Westerners the musical elements are more important. This is why the textual content should be given more priority. In terms of the textual content, Nigerian gospel music, an African contemporary musical genre which concerns itself with evangelizing lost souls, is also used as an instrument of socio-political and economic struggle. One of the issues that have been prominent in the song-texts is the suffering of the masses in Africa. This essay aims at taking a closer look at the selected relevant texts in order to interpret them, determine their message, and evaluate their claims and veracity. Using ethnomusicological, theological, and literary-analytical approaches, the essay classifies the texts into categories, finding most of the claims in the texts to be true assessments of the suffering conditions of the Nigerian masses. The essay concludes by stressing the need to pay more attention to the voice of the masses through gospel artists and for people in the humanities to work energetically towards fostering permanent solutions to the problem of suffering in Africa in general.
18
Fitrianto, Fitrianto. "KARAWITAN MURYORARAS: SEBAGAI REPRESENTASI KONSEP SPIRITUAL KEJAWEN." Kebudayaan 13, no. 1 (March 25, 2019): 15–30. http://dx.doi.org/10.24832/jk.v13i1.230.
Full textAbstract:
AbstractThis research describes the presentation of Karawitan Muryoraras in the context of culture and the belief system of the society. Besides that, the research describes the system of the presentation concept Muryoraras as ritual art. The data analysis is based on two theories namely the mythical aesthetic by Jacob Soemardjo and the theory of conditioning by Ivan Petrovich Pavlov. Based on the mythical aesthetic the relationship between the object art with culture and the belief system of society will be explained systematically. At this moment the analysis of the working system of the Muryoraras presentation concept is based on the conditioning theory that includes the process of stimulation and behavioral response. The Author uses qualitative research methods with ethnomusicological approach to trace deeper relationship between Karawitan Muryoraras and culture as well as belief system of the society. The data collection is done by measurable steps like: observation, interviews, documentation, and audio-visual materials. Then analyzed by several stages such as organizing them the data being examined can be verified. The results show that conceptually the presentation of Karawitan Muryoraras is a representative media of various cultural values of Java and the teaching of Kejawen as belief system of the society. Furthermore, the conceptual framework of hepresentation is applied to the working system of conditioning which is devided into two stages namely the stages of formation and reinforcement through various presenting rules.Keywords: Muryoraras, Representation, Kejawen.AbstrakPenelitian ini menjelaskan mengenai penyajian karawitan Muryoraras dalam konteks budaya dan sistem kepercayaan masyarakatnya. Selain itu penelitian ini juga menjelaskan tentang sistem kerja konsep penyajian Muryoraras sebagai seni ritual. Analisis data didasarkan pada dua teori yaitu estetika mitis Jacob Soemardjo dan teori pengkondisian Ivan Petrovich Pavlov. Bedasarkan estetika mitis, hubungan antara objek seni dengan budaya dan sistem kepercayaan masyarakatnya dapat dijelaskan dengan sistematis. Sementara analisis sistem kerja konsep penyajian Muryoraras didasarkan pada teori pengkondisian yang mencakup proses pemberian stimulus dan respon perilaku. Penulis menggunakan metode penelitian kualitatif dengan pendekatan etnomusikologis guna menelusuri lebih dalam hubungan antara karawitan Muryoraras dengan budaya serta sistem kepercayaan masyarakatnya. Pengumpulan data dilakukan dengan langkah-langkah yang terukur di antaranya: observasi, wawancara, dokumentasi, dan bahan audio visual. Kemudian dianalisis dengan beberapa tahap seperti mengorganisasikan data, membuat memo, pembentukan kode, menafsirkan data, menyajikan, dan memvisualisasikan data, sehingga data yang diteliti dapat dibuktikan. Hasil penelitian menunjukkan bahwa secara konseptual penyajian karawitan Muryoraras merupakan media representasi berbagai nilai budaya Jawa dan ajaran Kejawen sebagai sistem kepercayaan masyaraktnya. Selanjutnya, kerangka konseptual penyajian tersebut diaplikasikan dengan sistem kerja pengkondisian yang terbagi dalam dua tahapan yaitu tahapan pembentukan dan penguatan melalui berbagai macam tatacara penyajiannya.
19
"Ethnomusicological aspects." Semiotica 66, no. 1-3 (1987). http://dx.doi.org/10.1515/semi.1987.66.1-3.257.
Full text
20
Antokoletz, Elliott. "In Defense of Theory and Analysis: A Critical Evaluation of the Discipline and Its Application to Bartók’s Musical Language." Musica Theorica 1, no. 1 (August 27, 2016). http://dx.doi.org/10.52930/mt.v1i1.1.
Full textAbstract:
This paper defends an evaluation of Bartók’s music based on analytical procedures that use abstract theoretical concepts instead of, as advocate some scholars like László Somfai, restrict it to the scrutiny of compositional sketches and ethnomusicological influences. The analytical contributions of Roy Travis, Malcolm Gillies, Erno Lendvai, János Kárpáti, Colin Mason, Allen Forte and Richard Cohn, among others, are evaluated in order to introduce an original model that proposes a nontraditional tonal system based on the interval cycles and inversional symmetry, following some of George Perle’s propositions.
21
Clayton, Martin. "Theory and Practice of Long-form Non-isochronous Meters: The Case of the North Indian rūpak tāl." Music Theory Online 26, no. 1 (March 2020). http://dx.doi.org/10.30535/mto.26.1.2.
Full textAbstract:
This paper addresses important issues in the theory of meter by means of a detailed study of a particular form of non-isochronous (NI) meter, the North Indian rūpak tāl. Rūpak tāl is described as comprising 7 equal mātrās (time units), organized into three groups (3+2+2 mātrās), and is therefore non-isochronous at the group rather than the beat or subdivision level. The term “long-form non-isochronous meter” is introduced to describe the phenomenon of metrical structures including a non-isochronous pulse level with IOIs >1000ms, of which this is an example. This phenomenon is explored with the aid of empirical analysis of a corpus of recordings of rūpak tāl performances, focusing particularly on vocal performances in khyāl style. This empirical data is considered in light of extant literature on Indian metrical organization, on ethnomusicological theories of aksak, on psychological theories of rhythm perception in NI-meters, and on metrical theory more broadly. The implications for a general theory of musical meter are then considered, leading to an argument that (a) while theorization is not a necessary condition of metrical perception, a recognized metrical pattern must be treated not only as a form of perception based on the entrainment of attention (London 2012), but as a form of culturally-shared knowledge contributing to top-down processing of meter; and (b) the theorization and representation of aspects of metrical structure means that metrical cycles are not limited to the extent of the psychological present.
22
Goldman, Andrew J. "Improvisation as a Way of Knowing." Music Theory Online 22, no. 4 (December 2016). http://dx.doi.org/10.30535/mto.22.4.2.
Full textAbstract:
This paper proposes a theory of improvisation as a way of knowing. Different musicians may know about similar musical structures in different ways; different ways of knowing facilitate particular kinds of perception and cognition that underlie different performance behaviors. Some of these ways of knowing can facilitate improvisatory performance practices. The details of these improvisatory ways of knowing can be characterized by psychological and neuroscientific experimental work that compares differences in perception and cognition between groups of musicians depending on their training methods and performance experiences. In particular, perception-action coupling is a promising place to begin making such comparisons. This approach provides an alternative operationalization of improvisation for scientific study that is not susceptible to the problems that arise when describing cognitive processes in culturally contingent and music-theoretically relative terms such as novelty, spontaneity, and freedom, as past experimental work has done. Its hypotheses are also more readily falsifiable. This perspective can also connect an understanding of musical improvisation to other domains of improvisation and to historical and ethnomusicological work, as well as square it with more general theories in cognitive science, such as perception-action coupling. Finally, such a formulation has productive implications for work on improvisation thatdoesengage with concepts like novelty, spontaneity, and freedom that are traditionally invoked in improvisation discourse.
23
Jati, Andaru Kumara. "Pengendang Perempuan Dalam Karawitan Jawa Pengiring Perayaan Ekaristi di Gereja Pugeran Yogyakarta." SELONDING 14, no. 14 (August 5, 2019). http://dx.doi.org/10.24821/selonding.v14i14.3137.
Full textAbstract:
Eucharist is a sacred and the primary ritual for Catholics, it has adapted to the local culture. This adaption process called inculturation. Some examples of inculturation that is language and music. In Sacred Heart of Jesus Catholic Church Pugeran Yogyakarta, inculturation appears with the eucharist with Javanese language and Javanese songs with Javanese musical accompaniment called gamelan. Gamelan is a set of musical instruments that have undergone many developments. Gamelan played generally by men, because the gamelan construction is designed to be played by sitting of male style. But today there’s more and more groups of gamelan involving women as a player. In Pugeran Church found the phenomenon of female kendang (drums) player. This woman has a position as a leader, and it is in contrast to Javenese culture which has patriarchal principle, so that in this research examined the cause of the female kendang player in Catholic church and her performances.The method used in this research is descriptive method of analysis that describes the object in writing and detail. The research is qualitative research with ethnomusicological approach that explores the object not only the form of music (textual) but also all related cultural aspects (contextual). In addition, this research also uses a sociological and theological approach that helps to explore from a socio-cultural point of view and the science of Catholicism. Search data consists by literature study, observation, interviews and documentation. All data is done from October 2017 until June 2018. This research using gender theory in The Social Psychology of Music by David J. Hargreaves and Adrian C. North to analyze the data and answer the problems.