Journal articles on the topic 'Traditional Japanese musical concepts'
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1
De Ferranti, Hugh. "‘Japanese music’ can be popular." Popular Music 21, no. 2 (May 2002): 195–208. http://dx.doi.org/10.1017/s026114300200212x.
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Traditional genres, modern popular music, ‘classical’ concert music and other styles of music-making in Japan can be viewed as diverse elements framed within a musical culture. Bourdieu's concept of habitus, and Williams' of dominant, residual and emergent traditions, are helpful in formulating an inclusive approach, in contrast to the prevailing demarcation between traditional and popular music research. Koizumi Fumio first challenged the disciplinary separation of research on historical ‘Japanese music’ and modern hybrid music around 1980, and the influence of his work is reflected in a small number of subsequent writings. In Japanese popular music, evidence for musical habitus and residual traits of past practice can be sought not only in characteristics typical of musicological analysis; modal, harmonic and rhythmic structures; but also in aspects of the music's organisation, presentation, conceptualisation and reception. Among these are vocal tone and production techniques, technical and evaluative discourse, and contextual features such as staging, performer-audience interaction, the agency of individual musicians, the structure of corporate music-production, and the use of songs as vehicles for subjectivity. Such an inclusive approach to new and old musical practices in Japan enables demonstration of ways in which popular music is both part of Japanese musical culture and an authentic vehicle for contemporary Japanese identity.
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Halliwell, Patrick. "Learning the Koto." Canadian University Music Review, no. 14 (February 22, 2013): 18–48. http://dx.doi.org/10.7202/1014309ar.
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This paper examines traditionally-oriented teaching and learning processes in Japanese koto music. Earlier evaluations (negative and positive) by Western scholars are introduced, together with a brief comparison to Western practices. A distinction is made between "inside" and "outside" students; the former have greater exposure to music and speech about music, and teaching methods also may differ. Traditional methods of learning through imitation are shown to have other musical goals besides the transmission of musical "text." Playing together is fundamental; teachers may use speech, shôga (oral representation of instrumental sound), or purely musical means to convey information to the student. Notation, often used nowadays, is nevertheless of relatively minor importance. The dominant values underlying traditional teaching methods are expressed through the phrase "if you can steal it, that's OK." Finally, concepts of "text" and "interpretation" are considered in relation to values concerning change in traditional koto music.
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Irlandini, Luigi Antonio. "Musical Time in Tōru Takemitsu’s November Steps." Per Musi, no. 42 (November 2, 2022): 1–28. http://dx.doi.org/10.35699/2317-6377.2022.40417.
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This article offers a formal analysis of Tōru Takemitsu’s composition November Steps and discusses the composer’s statements that the piece has eleven variations (that he calls “Steps”) and is an equivalent of a Western Theme and Variations form as well as of a Japanese traditional form called danmono. There is a discrepancy between these statements and the music’s temporal organization. Not too much has been written about November Steps, and musicologists that have done it have avoided the “perplexing task” of double checking what is true about them and what is not. Therefore, this article’s goal is to unveil the mysteries about November Steps’ form, which is thoroughly considered here as musical time. The work displays a unique conception of temporality, identified here as circular, at one level, and cyclic, at another. The article explains the notion of circularity as applied to musical time, and also discusses the relationship between this specific work and the Japanese and Western traditional concepts of time that are reflected in the music.
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Mannone, Maria, and Takashi Yoshino. "Temari Balls, Spheres, SphereHarmonic: From Japanese Folkcraft to Music." Algorithms 15, no. 8 (August 14, 2022): 286. http://dx.doi.org/10.3390/a15080286.
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Temari balls are traditional Japanese toys and artworks. The variety of their geometries and tessellations can be investigated formally and computationally with the means of combinatorics. As a further step, we also propose a musical application of the core idea of Temari balls. In fact, inspired by the classical idea of music of spheres and by the CubeHarmonic, a musical application of the Rubik’s cube, we present the concept of a new musical instrument, the SphereHarmonic. The mathematical (and musical) description of Temari balls lies in the wide background of interactions between art and combinatorics. Concerning the methods, we present the tools of permutations and tessellations we adopted here, and the core idea for the SphereHarmonic. As the results, we first describe a classification of structures according to the theory of groups. Then, we summarize the main passages implemented in our code, to make the SphereHarmonic play on a laptop. Our study explores an aspect of the deep connections between the mutually inspiring scientific and artistic thinking.
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Reehl, Duncan. "Musicalizing the Heart Sutra: Buddhism, Sound, and Media in Contemporary Japan." Religions 12, no. 9 (September 13, 2021): 759. http://dx.doi.org/10.3390/rel12090759.
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In Japan, explicitly religious content is not commonly found in popular music. Against this mainstream tendency, since approximately 2008, ecclesiastic and non-ecclesiastic actors alike have made musical arrangements of the Heart Sutra. What do these musical arrangements help us to understand about the formation of Buddhist religiosity in contemporary Japan? In order to answer these questions, I analyze the circulation of these musical arrangements on online media platforms. I pursue the claim that they exhibit significant resonances with traditional Japanese Buddhist practices and concepts, while also developing novel sensibilities, behaviors, and understandings of Buddhist religiosity that are articulated by global trends in secularism, popular music, and ‘spirituality’. I suggest that they show institutionally marginal but publicly significant transformations in affective relationships with Buddhist religious content in Japan through the mediation of musical sound, which I interpret as indicative of an emerging “structure of feeling”. Overall, this essay demonstrates how articulating the rite of sutra recitation with modern music technologies, including samplers, electric guitars, and Vocaloid software, can generate novel, sonorous ways to experience and propagate Buddhism.
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Kaidi, Wang. "TANG JIANPING'S OPERA "THE DAWNS HERE ARE QUIET": HISTORY OF CREATION AND SPECIFICS OF MUSICAL DRAMATURGY." Arts education and science 1, no. 3 (2020): 161–67. http://dx.doi.org/10.36871/hon.202003019.
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The article is devoted to the Opera "The Dawns Here Are Quiet" by the Chinese composer Tang Jianping based on the same-named novel by Boris Vasilyev. The theme of the Great Patriotic War, which for the first time became the plot of the Chinese Opera, was in tune with the theme of the Chinese Resistance to the Japanese Invasion. The composition synthesizes the characteristics of the European opera type in its Russified version, which was reflected in the heroic and epic dramaturgy and multi-part musical text. Russian folklore allusions, quasi- quotes from Russian operas, military-patriotic and Soviet mass songs reflect the author's method. The integrity of musical dramaturgy was given by the leitmotif, which became the main marker of Russian identity in the Opera. The Opera lacks a naturalistic embodiment of the War, and depicts the enemy in a conventional, symbolic way, in the form of unnamed but recognizable figures. The creators of the play sought to reveal the barbaric essence of the War, its anti-human character, to present the psychological state of the heroes and the manifestation of their human nature. The theme of the death of young girls gave a special perspective to the Opera, which is particularly acute in China due to gender disparity. The concept of the composer, director and screenwriter reflects the ideological constants of traditional Chinese culture, which gave the Opera an internal subtext.
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Azarova, Valentina Vladimirovna. "On the organization of sound space in "The Tidings brought by Mary" by Paul Claudel, 1912 edition." Культура и искусство, no. 4 (April 2022): 141–63. http://dx.doi.org/10.7256/2454-0625.2022.4.37912.
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The article examines the words and the meaning, as well as the dramaturgy of sound in the first edition of the mystery "The Tidings brought by Mary" by Paul Claudel. Understanding the synthesis of verbal and vocal intonation leads the author of the article to discover new ways of solving the problem of stage music in mystery drama by Claudel. The discrete nature of the design of the sound space of the mystery in the first edition represents the concept of separately performed fragments, in which the episodes integrated into the action in liturgical Latin are united by a common spiritual meaning. At the same time, the design of the sound space in the 2nd scene of Act III (the dramatic climax, the sacred space of the mystery) is characterized by novelty. Based on the interaction of theatrical-dramatic and musical structural elements, the composition of the scene is subordinated to the principle of end-to-end, continuous vocal-dramatic development of the action. Conclusions are drawn: during the 1910s, Claudel's idea of music in mystery drama was transformed - instead of musical fragments of an "applied" nature, a new compositional idea of stage music arose. The lyrical intonation of the author's voice is found in the sound space of the work. The mirror of Claudel's mystery reflects the principles of sound design of dramatic productions of traditional Japanese theater (Bunraku, Kabuki, Noh), as well as images of poetry of China and Japan. In the sound of the "The Tidings brought to Mary", the semantic and dramatic functions are performed by the verses of the songs "Oriole sings" and "Margarita, clear May!" performed by children's voices. Claudel's mystery drama formed a new understanding of the universal meaning of the mystery in the twentieth century.
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Nikulina, Nelia. "Denominative Models of Automobile Nomens (on the Material of Japanese Makes, Models and Modifications of Vehicles)." Terminological Bulletin, no. 4 (2017): 167–73. http://dx.doi.org/10.37919/2221-8807-2017-4-167-173.
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Denomination of material objects in the field of machine building, in particular the origin and the semantics of automobile nomens on the car makes indication, was studied by A.P.Romanchenko, N.M.Khrustyk, A.M.Yanchyshyn, also the topic was passingly considered by the Ukrainian scientists interested in the problem of pragmonims (O.O.Belei, O.V.Vinarieva, M.M.Dziuba, H.V.Zymovets, O.Iu.Karpenko, T.Iu.Kovalevska, N.V.Lysa, O.M.Tepla, S.O.Shestakova). The purpose of the article is to research the processes of nomenclature denomination, namely the formation of the nomens in the motor-transport area, especially the nomenclature names of the cars. Having analyzed more than 600 automobile nomens on indication of the makes and models of motor-transport means of Japanese manufacture, we can state that mythological, culturological, astronomical and geographical constructions from various aspects, sometimes of rather exotic nature, have been drawn to the arsenal, although traditional for marketing denomination of things was also used. In general, from 20 groups of names of Japanese cars that we distinguished the group of automobile denominative nomens in which the zoological component of the name has been used appeared to be the biggest one (21 nomenclature units), then comes the group of nomens having a musical culturological component in its name (16 nomenclature units), the third place is occupied by automobile nomens where the astronomical components are involved (15 nomenclature units). Thus, we can make a conclusion: the starting point of automobile denomination is usually an associative factor as such name is easy to remember and it catches from mind the necessary image, which is aimed at modeling the successful consumer’s concept about the commercial offer, in this case – a car. But a number of debatable issues are still to be solved, they are associated with the detailed research of the semantic component of denominative automobile nomens, the connection of the own name, the associative factor and the denoted material object, which require additional attention of the Ukrainian terminologists.
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Montagu, Jeremy, and Paul Wolff. "A Checklist of Traditional Japanese Musical Instruments." Galpin Society Journal 45 (March 1992): 147. http://dx.doi.org/10.2307/842278.
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Johnson, Henry. "Japanese collections of traditional Japanese musical instruments: Presentation and representation." Musicology Australia 22, no. 1 (January 1999): 46–62. http://dx.doi.org/10.1080/08145857.1999.10416563.
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Irlandini, Luigi Antonio. "Integration and opposition of Western and Japanese traditional instruments in Takemitsu’s November Steps." Per Musi, no. 42 (January 30, 2022): 1–15. http://dx.doi.org/10.35699/2317-6377.2022.36944.
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This article examines the combination of Japanese and Western musical traditional instruments in regards to Tōru Takemitsu’s November Steps. The composer brought into an yōgaku (Western music style) composition not only two traditional instruments but also their traditional music, with the intention of creating an opposition of Japanese and Western musical characteristics, and shaping them as irreconcilable forces. In order to give a fair consideration of the matter, it is necessary to know the circumstantial and historical factors that have contributed to the predicaments involved in this pioneer act of incorporation of traditional Japanese aesthetics and culture in the world of musical composition.
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Haji, Saleh, Yumiati Yumiati, and Zamzaili Zamzaili. "Basic Concepts and Values of Mathematics in Bengkulu Traditional Musical Instruments as Media and Resources for Learning Mathematics." JTAM (Jurnal Teori dan Aplikasi Matematika) 6, no. 4 (October 8, 2022): 1096. http://dx.doi.org/10.31764/jtam.v6i4.10220.
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This study aims to determine the basic concepts and values of mathematics contained in traditional Bengkulu musical instruments in elementary schools. The urgency of this research is to use regional culture in learning mathematics theoretically and practically as a medium and source of learning mathematics through learning outside the classroom to achieve the objectives of learning mathematics in elementary schools. This research method is a qualitative method with an ethnographic approach. Data sources are in the form of traditional Bengkulu musical instruments, namely dhol, tassa, long drums, and serunai. Other data sources are documents and interviews with experts and practitioners of Bengkulu traditional musical instruments. The data were analyzed qualitatively with the method of content analysis. The result of this study shows that the basic mathematical concepts in Bengkulu traditional musical instruments are points, lines, angles, triangles, quadrilaterals, kites, circles, tubes, half balls, cut balls, cut cones, universes, and patterns. At the same time, the mathematical values contained in traditional Bengkulu musical instruments are obeying the rules, consistency, creativity, and cooperation. Therefore, as an alternative to effective learning in elementary schools, Bengkulu traditional musical instruments can be used as a medium and source of learning mathematics outside the classroom.
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Johnson, Henry M. "A survey of present-day Japanese concepts and classifications of musical instruments." Musicology Australia 19, no. 1 (January 1996): 16–39. http://dx.doi.org/10.1080/08145857.1996.10416541.
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Fowler, Michael. "Transmediating a Japanese Garden through Spatial Sound Design." Leonardo Music Journal 21 (December 2011): 41–49. http://dx.doi.org/10.1162/lmj_a_00060.
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There have been numerous artists, architects and designers whose encounters with traditional Japanese garden aesthetics have produced creative works. The author examines John Cage's Ryoanji, a musical translation of the famous karesansui garden in Kyoto, as an important musical precedent and uses it to position his own methodologies for transmediating the spatial predilections of the Japanese garden Sesshutei. He also documents various mapping techniques and data visualizations used to inform his recent multi-channel sound installation/performance environment, Sesshutei as a spatial model.
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Matsunaga, Rie, Pitoyo Hartono, Koichi Yokosawa, and Jun-ichi Abe. "The Development of Sensitivity to Tonality Structure of Music." Music Perception 37, no. 3 (February 1, 2020): 225–39. http://dx.doi.org/10.1525/mp.2020.37.3.225.
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Tonal schemata are shaped by culture-specific music exposure. The acquisition process of tonal schemata has been delineated in Western mono-musical children, but cross-cultural variations have not been explored. We examined how Japanese children acquire tonal schemata in a bi-musical culture characterized by the simultaneous, and unbalanced, appearances of Western (dominant) music along with traditional Japanese (non-dominant) music. Progress of this acquisition was indexed by gauging children’s sensitivities to musical scale membership (differentiating scale-tones from non-scale-tones) and differences in tonal stability among scale tones (differentiating the tonic from another scale tone). Children (7-, 9-, 11-, 13-, and 14-year-olds) and adults judged how well two types of target tones (scale tone vs. non-scale tone; tonic vs. non-tonic) fit a preceding Western or traditional Japanese tonal context. Results showed that even 7-year-olds showed sensitivity to Western scale membership while sensitivity to Japanese scale membership did not appear until age nine. Also, sensitivity to the tonic emerged at age 13 for both types of melodies. These results suggest that even though they are exposed to both types of music simultaneously from birth, Japanese children begin by acquiring the tonal schema of the dominant Western music and this age of acquisition is not delayed relative to Western mono-musical peers.
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Hrvatin, Klara. "Alma Karlin’s Musical Miniatures." Poligrafi 24, no. 93/94 (December 18, 2019): 109–35. http://dx.doi.org/10.35469/poligrafi.2019.193.
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The following article serves as an introduction to one of the world’s greatest traveller Alma Maximiliane Karlin (1889–1950) and her music-religion related objects she probably brought from Japan, where she stayed from the beginning of June 1922 to July 1923. Not numerous, but in comparison to similar objects brought from other countries, the largest in number, the collection shows Karlin’s preference for simple instrument miniatures such as are models or miniatures of instruments shamisen, koto, yakumo-goto. Interesting are as well objects, which are indirectly related to Japanese music; ukiyo-e, postcards and small colored prins on postcards, depicting themes related to Japanese traditional instruments, small bronze tengu mask and others.
In order to better define those instruments and find a possible relation of these instruments and their religious practices to Karlin’s life, the article focuses as well on the Karlin’s non-classical travelogue, Slovenian translations of Einsame Weltreise: Die Tragödie einer Frau (Lonely Travel, 1929), in particular where she depicts her travel and stay in Japan. From her collection of instruments and her writings, the author searches how and to what extent Karlin developed a sense of, or was devoted to certain instruments which express some relation to Shinto or Buddhist religious practices.
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Voirol, Jérémie. "Assembling ‘indigeneity’ through musical practices: translocal circulations, ‘tradition’, and place in Otavalo (Ecuadorian Andes)." Popular Music 40, no. 3-4 (November 8, 2021): 428–49. http://dx.doi.org/10.1017/s0261143021000076.
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AbstractThis article addresses the relation between Andean ‘traditional music’ and circulations of people, objects, ideas and sounds. Although many studies on Andean indigenous music have explored such circulations, scholars still tend to understand musical practices in terms of ‘cultures’. The case of indigenous music from Otavalo, in the Ecuadorian Andes, encourages us to go beyond this approach. I make two arguments. First, by conceiving of the translocal/transnational flows that have shaped ‘traditional music’ from Otavalo through the concepts of ‘network’ and ‘music world’, I unsettle the link – underlying previous approaches – between a specific people, music and place. Second, through the concepts of ‘assemblage’ and ‘mediation’, I closely look at processes of ‘traditionalisation’ and ‘indigenisation’ to show how, in the context of multiple circulations, social actors nevertheless produce a specific link between people, music and place in order to make a musical practice ‘traditional’ and/or ‘indigenous’.
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Busch, Regina. "On the Horizontal and Vertical Presentation of Musical Ideas and on Musical Space (I)." Tempo, no. 154 (September 1985): 2–10. http://dx.doi.org/10.1017/s0040298200021434.
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‘His Own Attempts at Explanation, just like his compositional work, lend themselves to misunderstanding’. This opinion dominates Webern literature now as in the past, though naturally not always in this formulation of Dohl's. Sometimes we read of contradictions, of imprecisions; errors of fact or of mental processes can be ‘demonstrated’; and, depending on the particular author's field of interest and study, these are treated with indulgence or gentle annoyance, with indignation or knowing dismissal. Who could expect of a composer—a composer, moreover, like Webern: naive, at times culpably naive, withdrawn from reality; with a music so ‘abstract’, so in need of help or redemption by means of interpretation—who could expect of such a composer pertinent and consistent, or at least apt, music-theoretical concepts or utterances? Hardly anyone, in fact, seems to have dared to expect this kind of thing of Webern so far. That this might indeed involve some daring can be recognized from the conditions, the fuss, and circumstance with which Webern is approached. Whether they have sprung from the soil of serial music or not, all the systematic investigations, the numbering of note-rows, classifying of pitches, durations and so on, considerations of ‘structure’ (many investigations, too, of ‘form’, of symmetries)—they all seem like precautions against the music. Since the music is not trusted, the traditional music-theoretical concepts presented by Webern (and Schoenberg, too) are also regarded as unsuited for coping with the music. Instead, attempts are made using, for instance, the idea of a cell (usually a three-note basic cell) and its metamorphoses—an idea which is at least as anachronistic as the traditional ones, is scarcely strong enough to bear the burden of explication, and is exactly as vulnerable to criticism on scientific and ideological grounds as a serious preoccupation with Webern's own statements is alleged to be.
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MATSUNAGA, Rie, Koichi YOKOSAWA, and Jun-ichi ABE. "Music neural system in a “Western music-Japanese traditional music” bi-musical listener." Proceedings of the Annual Convention of the Japanese Psychological Association 75 (September 15, 2011): 1AM072. http://dx.doi.org/10.4992/pacjpa.75.0_1am072.
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Suroso, Panji, Mulkis Hasbulah, Uyuni Wiastuti, Herna Hirza, Pita HD Silionga, and Bakhrul Khair Amal. "Model Creation of Musical String Instrument Based on Ethnic Diversity in North Sumatera." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 1, no. 4 (December 22, 2018): 124–35. http://dx.doi.org/10.33258/birci.v1i4.101.
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This research is based on the curiosity about the phenomenon of the diversity of concepts and organizational structures of traditional stringed instruments in North Sumatra to be developed in finding new, more innovative concepts in creating North Sumatra local whisdom-based stringed musical instruments. The results of this study are expected to provide excellent benefits in research and development of science for lecturers, students and the wider community. The method used in this study is a qualitative approach and exploration besides art. The process of finding data and information is carried out thoroughly for overall and complete information about the diversity of traditional stringed musical instruments in North Sumatra. Data collected from two sources, namely primary data and secondary data. Primary data is obtained from the techniques of in-depth interviews (in-depth interviews) and joint observation (participant observation) which aims to explore data focused on focus groups (focus group discussions). The selection of informants is carried out on grouping key informants consisting of makers, users, experts and academics of traditional music. Secondary or primary data then organized for later exploration in creating musical instruments concocted with the diversity of local whisdom in North Sumatra. The results of this study are: Taking into account the various forms of musical instruments and the areas of the tones of each related instrument, then formulated to emit the tone by adopting and exploring existing instruments.
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Sheppard, W. Anthony. "An Exotic Enemy: Anti-Japanese Musical Propaganda in World War II Hollywood." Journal of the American Musicological Society 54, no. 2 (2001): 303–57. http://dx.doi.org/10.1525/jams.2001.54.2.303.
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Abstract The cinema was the most effective medium for anti-Japanese propaganda in the United States during World War II and was the site of music's most important wartime role. From shortly after Pearl Harbor to the end of the U.S. occupation of Japan in 1952, Hollywood produced a large number of films offering negative depictions of the Japanese. Music assumed multiple roles in these anti-Japanese feature films and U.S. government documentaries. Never had Orientalist and racial politics been more clearly evident in music heard by so many as in these productions. These films marshaled preexistent European music, stereotypical Orientalist signs, and traditional Japanese music against the exotic enemy. This essay analyzes some sophisticated examples of musical propaganda that offer new perspectives for the study of cross-cultural musical encounters. For many in the United States, Hollywood film music continues to shape their impressions of Japan and their perceptions of Japanese music.
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Ripani, Giulia. "Storytelling: An Engaging Teaching Tool in Ensemble Classes." Music Educators Journal 109, no. 2 (December 2022): 22–28. http://dx.doi.org/10.1177/00274321221137336.
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How can music educators create an engaging and supportive learning environment in ensemble classes? I propose using storytelling as a teaching tool to foster music learning and musical engagement in a relaxed, inviting, and focused atmosphere. Although storytelling cannot replace traditional teaching methods, it can help students understand technical concepts, develop bodily sensations, improve musical imagination, and develop a sense of community. I therefore address different aspects of storytelling to promote a more informed use of stories in ensemble classes.
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Fredy, Fredy, Lili Halimah, and Yayuk Hidayah. "Malind-Papua Ethnomathematics: Kandara Musical Instrument as Learning Media for Geometry Concepts in Elementary School." Jurnal Iqra' : Kajian Ilmu Pendidikan 5, no. 1 (May 28, 2020): 43–57. http://dx.doi.org/10.25217/ji.v5i1.872.
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Each regions has a local culture that is the identity of the area. The Malind (Anim Ha) tribe as the original tribe of Merauke has a musical instrument that has a copyright kandara. Kandara was used as a musical accompaniment of dances and songs at traditional ceremonies. Kandara can be used as a learning media for the concept of geometry in elementary schools. This article aimed to describe the instrument of the musical instrument as an ethnomatematics of the Malind-Papua tribe that can be used as a learning medium for geometrical concepts in elementary schools. It was qualitative research using the ethnographic approach. Sampling using a cluster random sampling technique. The results showed that, the first ethnomatematics were found in parts of the kandara such as the handle or hands of the kandara, head, bodyor middle part and the tail of the kandara. Secondly, the musical instrument of kandara can be used as a learning medium to explain the concepts of geometry in elementary school in the form of the concept of angles, flat shapes (triangles, rectangles and circles) and building spaces (incised cones and tubes). Thirdly, ethnomatematics can be a learning material in elementary schools based on local culture, not only can help students understand mathematical concepts well but also maintain and respect the cultures of local communities (Malind tribe as an indigenous of Merauke).
Keywords: Ethnomathematics, Kandara, Learning Media, Geometry Concepts
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Athanasopoulos, George, and Nikki Moran. "Cross-Cultural Representations of Musical Shape." Empirical Musicology Review 8, no. 3-4 (October 24, 2013): 185. http://dx.doi.org/10.18061/emr.v8i3-4.3940.
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In cross-cultural research involving performers from distinct cultural backgrounds (U.K., Japan, Papua New Guinea), we examined 75 musicians’ associations between musical sound and shape, and saw pronounced differences between groups. Participants heard short stimuli varying in pitch contour and were asked to represent these visually on paper, with the instruction that if another community member saw the marks they should be able to connect them with the sounds. Participants from the U.K. group produced consistent symbolic representations, which involved depicting the passage of time from left-to-right. Japanese participants unfamiliar with English language and western standard notation provided responses comparable to the U.K. group’s. The majority opted to use a horizontal timeline, whilst a minority of traditional Japanese musicians produced unique responses with time represented vertically. The last group, a non-literate Papua New Guinean tribe known as BenaBena, produced a majority of iconic responses which did not follow the time versus pitch contour model, but highlighted musical qualities other than the parameters intentionally varied in the investigation, focusing on hue and loudness. The participants’ responses point to profoundly different ‘norms’ of musical shape association, which may be linked to literacy and to the functional role of music in a community.
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Batubara, Junita. "The Ideas and Concepts of Overture Music Composition: One of the Opera Music Compositions of Kehidupan Dua Zaman Hikayat Siboru Deakparujar on the Creation of New Mode and Rhythm of Ogung Instrument." Jurnal Ilmiah Peuradeun 5, no. 2 (May 27, 2017): 273. http://dx.doi.org/10.26811/peuradeun.v5i2.149.
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The main problem in the composition idea of Overture is the studying of Opera itself but very few works of opera compositions that combine Western music with the traditional music of the Batak Toba Indonesia. Second, in the traditional opera of Batak Toba, it is often performed musical themes taken from the social life story of Batak Toba society and it is extremely rare, especially among the people of Batak Toba. Third, in the Batak opera, the music is used only as an entertainment and separated from the content of the story and often does not have the music score. The Overture created uses Atonality scale inspired by the pentatonic music of Batak Toba by using music score. Fourth, collecting information related to the influence of Western music, in this case, Atonality and pentatonic music of Batak Toba. Fifth, The use of the musical elements such as melody, rhythm pattern, tone color, harmony, form, texture and orchestra. With the above description, the writer created an opera based on the employment elements of Western music and Batak Toba music. The author made the employment of methods with the use of a rhythmic pattern on traditional musical instruments ogung and sulim combined with Western musical instrument without changing each ton of each musical instrument of the traditional Batak Toba. Sixth, the mode of pentatonic (five pitch) in which five pitch is the texture of taganing mode in the ensemble of gondang hasapi (an ensemble of the traditional music of the Batak Toba, North Sumatra in Indonesia) that are customized according to the tuning system of twelve of Western music pitch in order to generate new modes used in the above employment of opera.
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Omar, Rohani, Julia C. Hailstone, and Jason D. Warren. "Semantic Memory for Music in Dementia." Music Perception 29, no. 5 (June 1, 2012): 467–77. http://dx.doi.org/10.1525/mp.2012.29.5.467.
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there is currently limited information about the effects of dementia diseases on semantic memory for music: memory for musical objects and concepts. Here we review available evidence and emerging research directions in semantic memory for music in the degenerative dementias. Neurodegenerative pathologies affect distributed brain networks and can therefore provide a perspective on musical semantic memory that complements the traditional neuropsychological paradigm of the focal brain lesion. Recent work suggests that semantic memory for music may be fractionated and may share certain cognitive organizational principles with semantic memory for other kinds of material. Profiles of impairment on different dimensions of musical semantic memory may show some specificity for particular dementia diseases (for example, semantic dementia versus Alzheimer's disease).
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Tråvén, Marianne. "Mozarts musikaliska retorik: en studie av musikaliskt avbildande element i Mozarts operor." Sjuttonhundratal 8 (October 1, 2011): 209. http://dx.doi.org/10.7557/4.2399.
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<p>This article investigates and describes the components of Wolfgang Amadeus Mozart's musical rhetoric as they are visible in his operas from <em>Zaide</em> (1780) to <em>Die Zauberflöte</em> (1791). The relationship between verbal text and musical text is in these operas especially intimate, and Mozart used the musical text to illustrate, paint and comment the verbal text. Mozart's views on the compositional process, visible in his letters, rested on the notion that music should portray the characters, emotional content and action of the play, all within the harmonic laws of the time. To achieve that he used a combination of traditional musical rhetoric figures, conventions understood by his contemporaries, paralinguistic elements such as emotional prosody, and extralinguistic elements such as musical gesture, to portray actions and objects as well as concepts.</p>
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Tsukahara, Yasuko. "State Ceremony and Music in Meiji-era Japan." Nineteenth-Century Music Review 10, no. 2 (December 2013): 223–38. http://dx.doi.org/10.1017/s1479409813000244.
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The music culture of Japan following the Meiji Restoration of 1868 is characterized by the coexistence and interdependent development of three types of music: (1) traditional music passed down from the Edo period (1603–1867) as exemplified by gagaku (court music); (2) the Western music that entered the country and became established after it was opened to the outside world; and (3) modern songs that were the first to be created in East Asia, such as shōka and gunka (school and military songs). These three types of music each played the role required of them by the Meiji state, and they became indispensable elements of the music culture of modern Japan. Traditional music is an irreplaceable fund of original musical expression intrinsic to Japan, Western music offers a common language facilitating musical contact in international society, especially with countries of the West, and modern songs are an essential tool for unifying the Japanese people through the act of ‘singing together in Japanese’.This article examines the way in which the coexistence of these three types of music began, from the perspective of the musical expression of national identity in the state ceremonies of the Meiji era, namely imperial rites, military ceremonies and school ceremonies. Gagaku was reorganized and strengthened in the 1870s as the music of Japan's imperial rites, and it was given priority both within Japan and overseas, as the most intrinsic of Japan's genres of traditional music. The gagaku scales, defined clearly only from 1878 onwards, were used to amalgamate the musical language of Japan's state ceremonies by their use in ceremonial pieces for military and school ceremonies. This article clarifies the special role played by gagaku in post-Restoration nineteenth-century Japan.
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Abrianto, Chandra Okta. "HIP HOP “BERASA” JAWA (PROSES PENCIPTAAN MUSIK HIP-HOP KM 7 YOGYAKARTA)." Sorai: Jurnal Pengkajian dan Penciptaan Musik 12, no. 1 (August 27, 2019): 44–53. http://dx.doi.org/10.33153/sorai.v12i1.2622.
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Boedi Pramono’s creativity as the creator of the Hip Hop KM 7 group is by combining Javanese traditional music with hip hop music. This paper reviews from the beginning of Boedi Pramono’s artistic career until the formation of Hip Hop KM 7. The problems that arise are (1) Revealing and explaining the formation and structure of Hip Hop KM 7’s music, (2) Explaining the creative process of Hip Hop KM 7’s music. To answer such problems, this research employs qualitative research methods by studying empiricism, trying to be able to express objectively which is more oriented towards the field of textual research, with the addition of Bambang Sunarto’s concept of the creative process in art. The creative process of art is the process of finding the constructive elements of art in regards with (1) the artist’s belief in creating the artwork, (2) the vocabulary and the artistic model, (3) the artistic concepts and (4) the artistic models, which are then used as means to create the artwork, thus answering the question. This article reveals that: firstly, the musical form presented by Hip Hop KM 7 is a digital-based music enriched with gamelan idioms and in general Javanese traditional music. Here, the musical structure is divided into two musical impressions, namely the West and the Traditional music. Secondly, Boedi Pramono with his musical creativity formed Hip Hop KM 7 from a thickly artistic environment and later included the traditional element and further the traditional dance to the hip hop music.Keywords: Hip-hop Jawa, Hip-hop Km 7, Hip hop Yogyakarta.
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Leiter, Samuel L., Kawatake Toshio, and P. G. O'Neill. "Japan on Stage: Japanese Concepts of Beauty as Shown in the Traditional Theatre." Asian Theatre Journal 10, no. 1 (1993): 121. http://dx.doi.org/10.2307/1124223.
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Tsurkanenko, Iryna, and Wang Sige. "National vocal tradition as a current object of musical research." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 7–23. http://dx.doi.org/10.34064/khnum2-27.01.
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Statement of the problem. In the modern conditions of cultural globalization, national identification is the object of special attention, and this also applies to all spheres of musical art. The study of national vocal traditions both in the form of national vocal schools of academic art and in the sense of manifestations of the national musical tradition is one of the urgent areas of music science. It can have socio-cultural, historical, genre-stylistic, performing dimensions. However, this field of musicology is still developing in several extensive ways, rarely combining into complex scientific investigations, on the basis of which a certain kind of methodology of musicological analysis of the phenomena of vocal art may be born. The analysis of publications on the chosen topic shows that, in addition to academic musicological works devoted to the national specificity of musical art (Draganchuk, 2008; Lyudkevych, 1999; Liashenko, 1973, 1991; Romaniuk, 2009), interdisciplinary studies combining knowledge of musicology, sociology, history, psychology, cultural studies have recently appeared (Nikolaievska, 2020: Applegate, 1998; Gottlieb, 2019; Kelly & Mantere & Scott, 2018; Knox, 2019). Studies of performing schools (Dedusenko, 2000), in particular, national vocal schools, as a rule, relate to the history of their development within the framework of academic European vocal art (Hnyd, 1997; Stakhevych, 2013; Totska, 2012; Tsebrii, 2021; Shuliar, 2010, 2012), and do not often take into account the specifics of traditional musical culture (Kornii, 2002; Lyudkevych, 1999; Applegate, 1998; Schwartz-Kates, 2002). Therefore, the study of the national vocal tradition as a complex phenomenon requires special attention of modern musicology. The above determines the scientific novelty of the presented study, which is related to the differentiation of the concepts of vocal school and national vocal tradition in the aspect of musical performance and musicology. The purpose of the scientific work is to outline the ways and perspectives of musicological research of the national vocal tradition. The methodological basis of the research is a combination of several areas: scientific investigations devoted to the specifics of national manifestations in music; research on national vocal schools; scientific works from a wide contextual range of musicological issues. The results and conclusions of the study. The national vocal tradition in today’s multi-cultural, multi-style, multi-genre conditions has various manifestations, which requires its complex scientific research. It is necessary to note the difference between the concepts of the national vocal tradition and the national vocal school – the latter is a component of the national vocal tradition, which combines traditional musical culture and academic musical art, represented both by musical compositions and their presentation, i. e. musical practice. Thus, the national vocal tradition is a complex concept that characterizes the system of artistic phenomena associated with the national origins of traditional musical culture and their manifestations at all levels of a musician’s professional activity.
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Hoang Thi My, Nhi. "Characteristics of traditional Japanese Aesthetics from the View of Orient Classical Aesthetics." Journal of Science Social Science 66, no. 2 (May 2021): 29–36. http://dx.doi.org/10.18173/2354-1067.2021-0022.
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Japanese aesthetics was formed very early, and had absorbed classical Oriental thought with its own speciality. Since ancient times, aesthetic concepts had appeared and always played an important role in shaping the Japanese artists’ style of composition and Japanese cultural life, and particularly flourished in Heian period. These aesthetics norms had paved the way for the later development of a unique and rich Japanese aesthetic system. The paper aims to clarify the role of Oriental philosophy, religion and ideology, as well as the ingenious continuation of the Japanese in forming a unique aesthetics of the nation. Besides, the article analyzes the characteristics of beauty such as deficiencies and emotional suppression, intimacy and lofty, sacred and worldly, and fragile fate. Based on those analyses, the paper explains the relationships between Japanese aesthetics and other typical aesthetics such as China and India. The research results will be the theoretical basis contributing to deciphering the characteristics of Japanese culture viewing from a traditional perspective.
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Lancashire, Terence. "World music or Japanese - the gagaku of Tôgi Hideki." Popular Music 22, no. 1 (January 2003): 21–39. http://dx.doi.org/10.1017/s0261143003003027.
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The term ‘world music’ usually conjures up images of musics from ‘remote’ corners of the world. However, that remoteness is not always geographical and can, for example, be chronological. Tôgi Hideki, a former musician from the Imperial court in Japan, has sought to introduce court music - gagaku - to a wider audience through the reworking of traditional gagaku pieces and new compositions for gagaku instruments. Gagaku boasts a history of over 1,200 years and its esoteric nature inhibits popular interest. Tôgi Hideki’s popularised gagaku, on the other hand, has found a new audience for gagaku, and his music serves as a bridge introducing Japanese back to a remote part of Japanese musical culture.
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Mamadjanova, Elnora. "Musical Art of Uzbekistan in the 21st Century: Globalization and Preservation of Identity." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 10 (December 7, 2022): 57–60. http://dx.doi.org/10.30819/aemr.10-7.
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This article discusses meaning of era of globalization, new definitions, and concepts. Rapid changes and transformation music heritage and genres of traditional music in modern projects can lead to ineradicable consequences in future. What is the uniqueness of the musical art of Uzbekistan, and what changes should be expected in the new era? This article focuses on changes in music education, performing art in pandemic period, and its positive and negative consequences.
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Brett, Thomas. "Polyrhythms, negative space, circuits of meaning: making sense through Dawn of Midi'sDysnomia." Popular Music 36, no. 1 (December 13, 2016): 75–85. http://dx.doi.org/10.1017/s0261143016000684.
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AbstractDysnomiais a 2013 recording by the jazz trio Dawn of Midi scored for acoustic piano, bass and drums. Eschewing jazz chords, improvisation, swing rhythms and theme and variations, the music is instead organised around repeating rhythmic loops and interlocking melo-harmonic fragments, as one groove assemblage segues into the next like an evolving DJ set. The music sounds equal parts minimal process, electronically sequenced and traditional African. This article engages the musical and philosophical concepts at play inDysnomiato think through writing about music via three paths of speculative inquiry. The first part of the article considers works by Kodwo Eshun, Paul Morley and David Sudnow, idiosyncratic thinkers outside of the mainstream of academic music discourse who vividly approach writing about music through defamiliarising language and inventing concepts, generating associations based on comparative listening and describing the dynamics of musical process. In the second part of the article I draw on these writing techniques to direct my repeated listening encounters withDysnomiaand construct a prose interpretation modelled on the polyrhythms of the music. I conclude with a brief discussion of the phenomenological perspective on musical essences and suggest that music is a model for thinking through writing about music.
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Kajino, Ena. "A Lost Opportunity for Tradition: The Violin in Early Twentieth-Century Japanese Traditional Music." Nineteenth-Century Music Review 10, no. 2 (December 2013): 293–321. http://dx.doi.org/10.1017/s147940981300027x.
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Less than a century after the introduction of the violin to Japan, in the late nineteenth century, Japan offers the highest level of training on the instrument and has produced many internationally successful violinists. Although one can hardly imagine it from the current role of the violin in modern Japan, in the early twentieth century the instrument played a significant role, not in the development there of Western classical music, but in the survival of the indigenous Japanese music that we call today ‘traditional Japanese music’.With the flood of Western culture into Japan after the Meiji Restoration, of 1868, the Japanese government reconsidered whether their native music was worthy of Japan as a civilized country. In fact, except for court music, native Japanese music was held in low esteem by society and the government alike. The music of the shamisen was particularly problematic, due to the vulgar texts of shamisen songs and the low class status of shamisen consumers. Shakuhachi had until recently been restricted to Fuke monks, and was still establishing a new role in the musical culture. Thus, the whole world of ‘traditional Japanese music’ was entering a new age.It was during this period that many Japanese became acquainted with the violin, by playing it in ensemble with koto, shamisen and shakuhachi. Young Japanese professional musicians began to learn the violin. The principles of Western music they learned in this way gradually made their way into Japanese music. At one time, the ‘traditional Japanese music’ ensemble of violin with Japanese instruments seemed to have become firmly rooted in Japan as ‘home music’; but this has not turned out to be the case. As Japanese violinists have become increasingly dedicated to Western classical music, traditional Japanese music has once again become the exclusive use of native instruments.
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Hamidah, Idah, Muammar Kadafi, and Dera Zuliyanti. "Knowledge on Japanese People's Beliefs in the Anime Natsume Yuujinchou." Japanese Research on Linguistics, Literature, and Culture 1, no. 1 (November 30, 2018): 92–108. http://dx.doi.org/10.33633/jr.v1i1.2106.
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Japanese people's trust is a belief inherited from time immemorial and is still maintained today. This can be seen from popular works that still raise traditional Japanese values. One of them is the anime Natsume Yuujinchou raising the values of Japanese people's beliefs about gods or Us and the life of the unseen. This study was about to describe the beliefs of Japanese people found in the anime Natsume Yuujinchou. The research method used to explore Japanese people's trust is a qualitative descriptive method. The approach used is literary anthropology. Found five concepts of Japanese people's beliefs from the anime, namely, 1) trust in the existence of a god; 2) trust in inanimate objects and can live if entered by the spirit; 3) belief in vengeance or punishment invisibly; 4) belief in the manifestations of kindness and evil from the spirit; 5) belief in souls (spirits) or spirits (spirits) in plants or animals The conclusions of this study are Japanese people's beliefs contained in the Natsume Yuujinchou anime in the form of supernatural concepts, soul concepts (souls) and spirits (spirits), and the concept of retaliation (tatari).
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Fuchs, Stefan. "Japanese ‘Right-wing Rock’? A Lyrics Content Analysis." Vienna Journal of East Asian Studies 6, no. 1 (December 1, 2015): 75–124. http://dx.doi.org/10.2478/vjeas-2014-0009.
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Abstract So far largely unnoticed, a right-wing extremist current within the rock music oriented subculture of Japan can be observed. This subcultural phenomenon bears resemblance in appearance to a phenomenon that is commonly referred to as ‘right-wing rock’ (Rechtsrock) in German-speaking countries. On the basis of a substantial compilation of relevant lyrics, the present paper seeks to examine whether this resemblance can also be located in terms of the ideological contents. Focussing on the linguistic inventory of the sample of lyrics, how a particular vocabulary is used to construct a collective identity and to convey a range of rightist topics will be examined. It will be shown that various terms that are frequently used in the analysed lyrics contain references to nationalistic and/or militaristic thought. Some lyrics propagate historical revisionist or negationist views on history and on the whole the analysed lyrics glorify martial concepts of maleness. The analysis thus justifies the conclusion that the musical phenomenon in question can be defined as a Japanese form of right-wing rock.
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KROTEVA, Nikolina. "THE TRANSFORMATION OF THE „JAPANESE TRACE“ IN THE WORK OF NIKOLAY STOYKOV." Ezikov Svyat (Orbis Linguarum) 18, no. 1 (March 27, 2020): 86–93. http://dx.doi.org/10.37708/ezs.swu.v18i1.10.
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e contemporary Bulgarian composer Nikolay Stoykov is extremely attached to the image world of the Bulgarian musical folklore. Colorful as an author, he reconsiders and liberates authentic folk material with modern compositional language and thus breaks the traditional boundaries of musical structures. The subject of my monograph1 was the questions related to the artistic imagery in the choir work of Nikolay Stoykov and the original composer techniques usedby the author. While I was researching and writing about the rich heritage of the composer – about 100 opuses, I encountered various unique and turning points of his life. Stoykov was taught composition by the unsurpassed Pancho Vladigerov. I thought this was the most important fact that largely influenced and shaped his compositional style. In one of the chapters of themonographic survey „Vocal Landscapes“ (Кroteva 2017, pp. 20 – 27), I point to a little-known fact – the meeting of Nikolay Stoykov with the Japanese lyrical art. Back in 1966 he wrote four exquisite pieces of „Tanka“ for a male voice and piano on poems by Ishikawa Takuboku. Nikolay Stoykov has various creative appearances. In addition to musical works, he has published three books with haiku poetry and poetic messages in which he has expressed himself „without notation“. The question of the influence of the short Japanese poetic forms on the composer’s creative invention was not in the focus of my work, and remained unexplored in depth. The theme of the International Science Forum „The East – So Far, So Close“ provoked me to trace the creative predisposition of Nikolay Stoykov to the Eastern cultures and to add extra touches to the portrait of this extremely interesting composer.
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Atkins, E. Taylor. "The Dual Career of “Arirang”: The Korean Resistance Anthem That Became a Japanese Pop Hit." Journal of Asian Studies 66, no. 3 (August 2007): 645–87. http://dx.doi.org/10.1017/s0021911807000927.
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“Arirang” is known worldwide as the quintessential Korean folk song. Its iconic status in contemporary Korea derives from its perceived role in strengthening Korean resolve to resist the cultural violence of the Japanese colonial occupation (1905–45). A musical “skeleton” capable of countless improvised variations and interpretations, some “Arirangs” explicitly assailed the Japanese and thus were censored by colonial authorities. However, in the 1930s and 1940s, precisely the time when assimilationist pressures in colonial Korea were intensifying, Japanese songsmiths, singers, and recording companies released “Arirang” renditions in prodigious quantities, sometimes in collaboration with Korean performers. “Arirang” became the most familiar song in the Japanese empire: Its persistent theme of loss spoke to Koreans of their lost sovereignty and to Japanese of the ravaging effects of modernity on traditional lifeways. For both peoples, it served as a mirror for self-contemplation and an “ethnographic lens” for gazing upon the other.
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Anwar, K., D. Rusdiana, I. Kaniawati, and S. Viridi. "Teaching wave concepts using traditional musical instruments and free software to prepare prospective skillful millennial physics teachers." Journal of Physics: Conference Series 1521 (April 2020): 022056. http://dx.doi.org/10.1088/1742-6596/1521/2/022056.
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Park, So Hyun. "COEXISTENCE OF CLASSICAL MUSIC AND GUGAK IN KOREAN CULTURE." International Journal of Korean Humanities and Social Sciences 5 (February 28, 2020): 67–99. http://dx.doi.org/10.14746/kr.2019.05.05.
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Classical music and Korean traditional music ‘Gugak’ in Korean culture try various ways such as creating new music and culture through mutual interchange and fusion for coexistence. The purpose of this study is to investigate the present status of Classical music in Korea that has not been 200 years old during the flowering period and the Japanese colonial period, and the classification of Korean traditional music and musical instruments, and to examine the preservation and succession of traditional Gugak, new Korean traditional music and fusion Korean traditional music. Finally, it is exemplified that Gugak and Classical music can converge and coexist in various collaborations based on the institutional help of the nation. In conclusion, Classical music and Korean traditional music try to create synergy between them in Korean culture by making various efforts such as new attempts and conservation.
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Hadjakos, Aristotelis, Joachim Iffland, Reinhard Keil, Andreas Oberhoff, and Joachim Veit. "Challenges for Annotation Concepts in Music." International Journal of Humanities and Arts Computing 11, no. 2 (October 2017): 255–75. http://dx.doi.org/10.3366/ijhac.2017.0195.
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Traditional historico-critical music editions provide scholars and musicians with an edited score based on the interpretation of various sources such as the composer's autograph(s), letters and other materials from copyists or publishers. Their digital counterparts have the potential to offer new and more expanded ways to explore the work. This is based on the possibility to provide large amounts of source materials and to annotate more extensively (since printing costs are irrelevant). Furthermore, audio and video recordings of performances can be integrated. But, similarly important, the user interface makes it much easier to navigate in the complex network of cross-references between various source materials and the editor's annotations. The XML-based Music Encoding Initiative (MEI) format is the standard music representation format for digital music editions. In this article we discuss current MEI-based annotation practices and outline the current challenges for music annotations, including a discussion of anchoring options, the embedding of addressable elements in the local musical context, the annotation of audio, and the categorisation of annotations. This leads to a discussion of open questions such as the ability to secure authorship in open and reusable editions.
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Zappi, Victor, Andrew Allen, and Sidney Fels. "Extended Playing Techniques on an Augmented Virtual Percussion Instrument." Computer Music Journal 42, no. 2 (June 2018): 8–21. http://dx.doi.org/10.1162/comj_a_00457.
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Innovation and tradition are two fundamental factors in the design of new digital musical instruments. Although apparently mutually exclusive, novelty does not imply a total disconnection from what we have inherited from hundreds of years of traditional design, and the balance of these two factors often determines the overall quality of an instrument. Inspired by this rationale, in this article we introduce the Hyper Drumhead, a novel augmented virtual instrument whose design is deeply rooted in traditional musical paradigms, yet aimed at the exploration of unprecedented sounds and control. In the first part of the article we analyze the concepts of designing an augmented virtual instrument, explaining their connection with the practice of augmenting traditional instruments. Then we describe the design of the Hyper Drumhead in detail, focusing on its innovative physical modeling implementation. The finite-difference time-domain solver that we use runs on the parallel cores of a commercially available graphics card and permits the simulation of real-time 2-D wave propagation in massively sized domains. Thanks to the modularity of this implementation, musicians can create several 2-D virtual percussive instruments that support realistic playing techniques but whose affordances can be enhanced beyond most of the limits of traditional augmentation.
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Fridjesi, Judit. "The ′ugliness′ of Jewish prayer: Voice quality as the expression of identity." Muzikologija, no. 7 (2007): 99–118. http://dx.doi.org/10.2298/muz0707099f.
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This article is based on the musical material and interviews the author collected in Hungary, France, Czechoslovakia, the USA and Israel in the course of thirty years of her fieldwork among the traditional East-Ashkenazi Jews. It relates to the aesthetic concepts of the prayer chant of the Ashkenazi Jews of East Europe (?East -Ashkenazim?) as it appears to have existed before World War II, survived in the oral tradition until the 1970s and exists sporadically up to the present.
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Day, Kiku. "The Effect of Meiji Government Policy on Traditional Japanese Music During the Nineteenth Century: The Case of the Shakuhachi." Nineteenth-Century Music Review 10, no. 2 (December 2013): 265–92. http://dx.doi.org/10.1017/s1479409813000268.
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The nineteenth century was the major turning point in traditional Japanese music, leading to changes in the musical world that rendered it well-nigh unrecognizable. With the introduction, in 1871, of a primary school curriculum in which only Western music was to be taught, traditional Japanese music began its journey to marginalization – in the end becoming a genre that sounded foreign to a majority of the inhabitants of its own native country.The vertical bamboo flute shakuhachi was particularly affected by the new Meiji government's modernization process. During the Edo period (1603–1867), mendicant monks organized in the Fuke sect had enjoyed a monopoly on playing the instrument. With the abolishment of the sect, in 1871, and the prohibition of begging for the following decade, the social position of shakuhachi players was radically changed. This article explores the ways in which shakuhachi players adapted to these changes in order to survive. That adaptation affected not only the construction of the instrument, but also the music itself.
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Keller, Damián, and Victor Lazzarini. "Ecologically Grounded Creative Practices in Ubiquitous Music." Organised Sound 22, no. 1 (March 7, 2017): 61–72. http://dx.doi.org/10.1017/s1355771816000340.
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Instrumentally oriented and individualistic approaches dominate the current perspectives on musical interaction and technologically oriented composition. A view that focuses on the broad aspects of creativity support is proposed as a viable theoretical and methodological alternative: ubiquitous music practice. This article summarises several findings in ubiquitous music research, pointing to new theoretical frameworks that tackle the volatile and distributed creativity factors involved in musical activities that take place outside of traditional venues, involving the audience as an active creative partner. A new definition of ubiquitous music is proposed encompassing four components related to the human and the material resources, the emergent properties of musical activities and the design strategies involved in supporting distributed decision making. We highlight the application of embedded-embodied cognition in creative practice, arguing for the adoption of an ecologically grounded framework as an alternative to the mainstream anthropocentric and disembodied acoustic-instrumental paradigms. We discuss the relevance of the new materialist concepts of ecologies and meshworks within artistic creative practice, highlighting the implications of the emergent creativity support methods for context-based composition.
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Novikova, O. S., and I. S. Rodicheva. "Moral and ethical standards of upbringing in traditional Japanese society." Alma mater. Vestnik Vysshey Shkoly, no. 1 (January 2021): 96–100. http://dx.doi.org/10.20339/am.01-21.096.
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Presented is the analysis of moral and ethical standards, that determine the relationship between members of the community, that are primarily attributable to the Confucian doctrine of deification of ancestors, filial piety, unquestioning obedience to elders, detailed regulation of behavior of any member of society. Considering various categories of “duty” in the work, the authors reveal the main distinctive characteristics of interpersonal relations and perception of the world between Japanese and Western cultures, focusing on traditions of human upbringing and laws of communities. The concept of self-identification, that is suppressed against the background of the social in traditional Japan, is considered by the authors not from the point of view of moral and ethical considerations of a European person, but through the prism of group consciousness, which is a widespread phenomenon in Japanese society, since the feeling of being part of a group is one of the basic states of the individual in Japan. The signs of group unity are also reflected in the features of verbal communication that is due to a single lifestyle, a holistic model of education and the desire to satisfy the needs of the interlocutor, i.e. group unity. Drawing an analogy between models and concepts of European culture, the authors note the originality of the Japanese worldview, that is characterized by the desire to conform to the model presented by elders and is the basic infrastructure of education in a hier-archical Japanese society, and non-verbal ways of transmitting behavior models, and formation of group interaction skills are passed from generation to generation.
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Cynarski, Wojciech J. "New Concepts of Budo Internalised as a Philosophy of Life." Philosophies 7, no. 5 (September 30, 2022): 110. http://dx.doi.org/10.3390/philosophies7050110.
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Traditional martial arts continue to be interesting and inspiring to many people around the globe. Some of their contemporary adaptations attract enthusiasts for whom they are especially important. In this article, the author bases his observations on his own long-term participation. The analysis takes into account the influence of the perspectives of Jigoro Kano and several other creators of modern varieties of Japanese budo. It can be concluded that regular, even daily, practice—cultivating martial arts and internalizing its values—co-creates the lifestyle of instructors and advanced students.
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Setyoko, Aris, and Rahayu Supanggah. "PROSES PENCIPTAAN KOMPOSISI MUSIK KYAI BADRANAYA DALAM KARYA MUSIK KIDUNG SEMAR." CaLLs (Journal of Culture, Arts, Literature, and Linguistics) 4, no. 2 (November 28, 2018): 103. http://dx.doi.org/10.30872/calls.v4i2.1305.
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Kyai Badranaya is another name for figures in the purwa puppet show which is a symbolic figure for Javanese people. The special symbolic means to have variations, concepts of life, and beliefs in Javanese society. In the Javanese purwa puppet show, Semar figures are representations of good and wise qualities in human beings. Real Semar figures are also gods who transformed into commoners and became servants, protectors, and also knights of Pandawa namely Yudhistira, Bima, Arjuna, Nakula, and Sadewa in the Javanese version of the Mahabharata epics. The musical composition of Kyai Badranaya is part of the four musical compositions of Kidung Semar by the author, who presents musical performances with ideas from the values and semar phenomenon of Semar figures in the purwa puppet show in Java. The method is carried out through stages, namely the alignment process, and sound training. With this method, the music composition of Kyai Badranaya is compiled and presented in the form of a musical repertoire, which proposes reflection and thoughts about how one becomes a leader who applies the life concept of Semar, namely tepa selira, lembah manah, and andhap asor. The purpose of various organizations is the application used as a learning medium for the general public in the form of new music works. The result of the creation of this musical composition work is to contribute scientific thinking on how to create new music works by utilizing work from traditional sources of Javanese musical music in particular, as well as archipelago music.