Academic literature on the topic 'Traditional thai music'
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Journal articles on the topic "Traditional thai music"
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Jamnongsarn, Surasak. "Music deculturation: A traditional thai Music tool for Indonesian Music Adoption." International Journal of Creative and Arts Studies 5, no. 1 (October 29, 2018): 31–40. http://dx.doi.org/10.24821/ijcas.v5i1.2213.
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There has been foreign music influence on traditional Thai music since Ayutthaya period. Pi Jawa ( Java flute), Klong Jawa ( Java drum) and some traditional Thai song with foreign title have been legally and literally evident in Ayutthaya era. Some said that Thai people are open-minded in music, harmonious mixing overseas music culture with their own. Ethnomusicologists have seen this social phenomenon via music context and explained the revolution of traditional Thai music differently from the acceptance of music in general. This article reviewed the acceptance of Indonesian music, including Javanese music from Central Java and Sundanese music from West Java, into the Javanese Idiomatic Melody in traditional Thai music and Angklung Thai style. Indonesian music was seriously and forcefully deculturated. Playing technique has been adjusted to suit Thai music playing. Tuning system of Javanese Gamelan in Thailand has been fine tuned to conform to that of Thai music. Physical appearance of Sundanese Angklung has been replaced with Angklung Thai style. Javanese song have undergone music elaboration and rewritten to satisfy Thai musicians, with approval from elite Thai musicians and previous Thai music institutes together with Thai people in the society.
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Wisuttipat, Nattapol. "Relative Nature of Thai Traditional Music through its Tuning System." International Journal of Creative and Arts Studies 2, no. 1 (February 12, 2017): 86. http://dx.doi.org/10.24821/ijcas.v2i1.1441.
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Thai traditional music exhibits number of relative characteristics, though many of them are not expressed explicitly but only demonstrated orally. Its tuning system, despite having been put through many scientific studies for decades, cannot be given the absolute pitch frequencies. It is therefore possible that the tuning system does not have any absolute pitch frequencies but possesses relative nature. This papers aims to present the historic background, characteristics, past, current practices of Thai traditional music’s tuning system and to put forward the theoretical idea of non-existence of absolute tuning frequency and that of relative nature of Thai traditional music’s tuning system. The data was collected from previous researches on Thai traditional music’s tuning system and from sample instruments. The latter was then compared to each other and analyzed with respect to the former. The preliminary results were that tuning system of Thai traditional music was in the form of seven-tone equal temperament without any sharps or flats. But practically, it was not exactly equal as musicians still prefer the traditionalbiased tunings which is believed to be more tuneful. Regarding the tuning practices, the tuning of Fine Arts Department are most dominating among several others. Even though, the tuning of Fine Arts Department measure from various sources are slightly different in terms of frequencies and intervals. It can be concluded that the tuning system of Thai traditional music does not rely on specific pitch frequency, but is relative to intervals and personal preferences and its absolute pitch frequency is yet to be established.
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Phansue, Veera. "Traditional Thai Music Competition: The Culture of Pipat Competition." International Journal of Creative and Arts Studies 1, no. 2 (April 17, 2017): 74. http://dx.doi.org/10.24821/ijcas.v1i2.1561.
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The title of this research is “The Culture of Pipat Competition” has three purposes as follows: 1) To study the knowledge of Pipat competition; 2) To study the process of Pipat competition; 3) To study the process of judging and deciding a Pipat competition. This research used the qualitative method and presented the research by using descriptive analysis. The results found that; 1) The knowledge of Pipat competition. The competition is to bring ensembles to perform their skills and abilities. Mostly, in a Pipat ensembles the knowledge and skills displayed are governed by a definite set of form and rules during the competition. Only the Pipat Mon that there is no any form or rule in the competition. The ensembles that want to join the competition have to prepare very well in term of musicians and place for rehearsal before the event. Moreover, the conductor of ensemble has to be highly skilled and experienced in coming up with a new technique for playing in order to take an advantage over the rivals. And the conductor should know the strength and weakness of the rivals too. 2) The Study of the process of Pipat competition. The competition has a certain set of forms and rules. The detail of forms and rules will be set by each competitor agreement and it is very easy for practice. It is different from the competition that there is no form or rule so, this kind of competition, the musicians should have a lot of knowledge and in an easy and a relax ways without strict rule, form or time in the competition many kinds of songs will be played. Therefore the conductor must plan everything for the competition. There are 2 types of competition; 1) different song, each ensembles will take turn to play a song and begin with the basic melody until the highly complicated notes and those songs must be in the same style. 2) same song, each ensemble plays same song simultaneously during the whole competition. This kind of competition is very serious and if any of the ensemble cannot play or keep pace with the melody it means they lose the competition. 3) Study of the process of deciding and judging a Pipat competition. There are 3 types of judging in the Pipat competition. 1. The musician and the singer know the result by themselves. 2. The audience decides who wins the competition. 3. The judge decides who wins the competition. The advantage of decision is choosing the best ensemble with developed technique and playing method while the disadvantage is when the musicians do not accept the decision often leading to quarrel and disharmony.
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Zaimi, Zamira Najla Binti. "THE SURVIVAL OF TRADITIONAL MUSIC AND ITS CURRENT APPEAL IN CENTRAL THAILAND." Lakon : Jurnal Kajian Sastra dan Budaya 9, no. 1 (June 12, 2020): 35. http://dx.doi.org/10.20473/lakon.v9i1.19835.
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Traditional music in Central Thai society is a rich piece of culture that uncovers much about day to day existence in the society. This study investigates the factors contributing to the music’s declining appeal to the local people. It focuses on customary music in five focal regions of Thailand. In collecting the data, I combined survey, interviews, and observation. The analysis shows that the popularity and appeal of customary music in Central Thailand is declining. The decline is partly caused by the wide impacts of Western cultures and music on Thai society. Moreover, there are not many youngsters who are keen on preserving the existence of the traditional music. This is coupled with the absence of the government in supporting the survival of the music. It is pity as the folk music is very much in tune with the everyday life of Central Thai society. However, in order to survive it requires modernization and adaptation with the changing dynamics of the society.
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Kanchanapradit, Jarun, and Wanida Bhrammaputra. "Rājādhirāt: From the History to an Influential literature for Mon-accented Thai traditional Repertoires." International Journal of Creative and Arts Studies 2, no. 2 (December 18, 2015): 23. http://dx.doi.org/10.24821/ijcas.v2i2.1795.
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This article aimed to study Mon-accented Thai traditional repertoires through Rājādhirāt literature, which owe its origin from the Chronicles of the Mon. It is the story about the battle between the king Rājādhirāt of Pegu and King Farang Mang Kong of Ava. The translated Thai language prose version was arranged by Chao Phraya Phra Khlang (Hon), a poet master during King Rama I. Later during King Rama V, the Rājādhirāt was adapted for theatrical play – Lakorn Pan Tang – leading to development in musical front in order to assign appropriate Mon-accented musical pieces for the characters, their expressions, and story. Anthropologically, Rājādhirāt Literature was not only an entertainment, but also a revival of Mon-accented Thai traditional repertoires which have been associated with the Thai society for so long. The repertoires served as a reminder of once-flourishing Mon history through literature, play, music. Analysis of historical evidence, concerned persons such as the translator of Rājādhirāt from Burmese to Thai language, experienced Thai musician who played and assigned the repertoires; and expressive interpretation of musical repertoires from Rājādhirāt play by the Fine Arts Department are the integral process that made this article present another perspectives of Mon-accented Thai traditional repertoires while featuring relationship between literature, play and music in Thailand.
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Barton, Jintana T. "A Comparative Study of Chinese Musical Activities in Chinese and Thai Cultural Contexts." MANUSYA 10, no. 2 (2007): 1–13. http://dx.doi.org/10.1163/26659077-01002001.
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This research explores the influence of Chinese music as it is reflected in cultural activities in China and Thailand. In China, music has been used since long before the time of Confucius (551-479 BC) as a learning tool, and the Chinese who migrated into Southeast Asia and ultimately Thailand brought their music with them. In Thai society, Chinese music has been used in traditional ways. Although the music remains closer to what was brought with the immigrants, it has been adopted into Thai society in ways that go far beyond the original Chinese use. This research found that some Chinese musical activities have become ingrained into Thai culture and society such as Lion Dance group performances in the processions for the ceremonial candle (Tian Phansa), the Khan Mak procession, and the Songkran Festival procession. The Lion Dance group also has a photo of a famous Thai monk on the front of a big drum. We also found that the khim is the most popular Chinese musical instrument among Thai people.
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Janninwong, Nattanan. "The creative Thai traditional dance performance of King Naresuan's Declaration of Independence." Asian Journal of Arts and Culture 22, no. 2 (December 14, 2022): 256888. http://dx.doi.org/10.48048/ajac.2022.256888.
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The research on a creative Thai traditional dance performance of King Naresuan's Declaration of Independence. The objective is to study the history of King Naresuan the Great to design a performance of Thai dance, creating a set of King Naresuan's Declaration of Independence, in order to integrate teaching and learning in single dance and duo dance courses, bachelor of education program, department of Thai Dramatic Arts Studies. The methods of conducting research by studying and collecting document data, relevant research includes the study of solo dance styles in various performance sets.The results showed that a creative performance of Thai dance King Naresuan declares independence. The idea came from the belief in the brave Thai King and having a heart of patriotism. It is a solo dance performance. It is a dance showing off the skill of the performer along with their faith by using 3 principles of designing poses and dancing styles, namely 1. Using the imagination 2. Using the principle of dance in combination with natural gestures 3. Using the principle of stylistic dance (or body language in dance) and the master dance that is a standard dance streak in the form of a dance according to the lyrics and melody to convey the meaning of the song. The dance moves show the uniqueness of the characters to be consistent and beautiful in the style of Thai dance. Conveying the dance process in the solo and couple dance course for 3rd year undergraduate students in the field of Thai Dramatic Arts Department of Dramatic Music Faculty of Fine and Applied Arts, Rajamangala University of Technology Thanyaburi. Students are able to practice the dance movements, styles, and emotions of the characters beautifully in a traditional Thai dance style and goes well with the lyrics and melody.
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Rachman, Abdul, Pramot Teangtrong, Phakamas Jirajarupat, and Indrawan Nur Cahyono. "A Comparative Study of Playing Patterns on Gambang and Ranat Ek Instruments." Harmonia: Journal of Arts Research and Education 21, no. 2 (January 1, 2022): 356–68. http://dx.doi.org/10.15294/harmonia.v21i2.31037.
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Gambang Semarang is one of Indonesia’s traditional music which has an instrument made of wood, namely gambang (xylophone). Thai Pi Phat Ensemble has a Gambang-like instrument called Ranat Ek. In the presentation, each of these instruments certainly has a playing pattern that is characteristic of the music itself. This study aims to identify and describe the pattern of traditional music playing in the Gambang Semarang, especially the Gambang instrument and the traditional music of Thai Pi Phat Ensemble, especially the Ranat Ek instrument. The research method used is qualitative with a musicological approach. Data collection techniques were carried out by using observation, interviews, document studies, and Focused Group Discussions. Data analysis was carried out with the stages of data reduction, data classification, and concluding. The results show that the playing pattern of the Gambang instrument in the Gambang Semarang music contains two types of playing patterns, namely sekaran Nglagu and cengkok ajeg. While the playing pattern of the Ranat Ek instrument in the Pi Phat Ensemble consists of kan ti kro, kan ti kep, kan ti siao mue, kan ti sado, and kan ti sabat. The two instruments have similarities and differences in playing patterns which are most likely due to differences in functions and roles in group play.
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Rodsakan, Tepika. "Music: A tool in transforming the Social Status of Special needs Children." International Journal of Creative and Arts Studies 5, no. 1 (October 29, 2018): 67–71. http://dx.doi.org/10.24821/ijcas.v5i1.2216.
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There are some attempts to politically encourage the rights of social status to Special Needs Children by both Thai government and non-government organizations. Practically, the fact indicates that the Special Needs Children’s social status and roles are vaguely partial in terms of whether opportunities or social rights. The researcher has experimented by organizing traditional Thai musical activities to Special Needs Children, the case study of Panyawutikorn School. Pre-test and post-test results and observation evidently have shown that the musical skills are increasingly improved. Similarly, an empirical data presents they took pride proudly when they are being praised in their developing skills by teachers, parents as well as H.R.H. Mahachakri Sirindhron princess, has been at Panyawutikorn school in order to attend Thai musical performance of Special Needs Children, the attention of princess can encourage them to be more engaged in musical performance of Special Needs Children and also people involved. As mentioned above, ‘music’ is utilized as a tool to transforms the social status and give them a chance of playing role as givers. The traditional Thai music ensemble of Special Needs Children is requested to broadly show their abilities in many places such as hospitals, elderly cares, and in other school activities. Truly, music therefore is effectively able to transmit the social status of the Special Needs Children from previously they were defined as always receivers to be currently understood as givers. Furthermore, the study also provided the number of children is stepping up and paying more attentions in musical activities. This is to really consider the attempts to push up Special Needs Children in the same level of citizenship hierarchy.
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Campbell, Patricia Shehan. "The Making of Musicians and Musical Audiences in Thailand." International Journal of Music Education os-25, no. 1 (May 1995): 20–28. http://dx.doi.org/10.1177/025576149502500103.
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‘If the classical music of Thailand is to be preserved, then the traditional house schools of musical learning should be maintained. The modernized Thai schools can never hope to produce the quality of musicians to match the greatness of those who came before.’ (From an interview with Chalermsak Pikulsri, Khon Kaen, Thailand)
Dissertations / Theses on the topic "Traditional thai music"
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Yannavut, Wannapha. "An exploration of Thai traditional music for Western percussion instruments." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3231.
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This study consists of five compositions/arrangements and one excerpt of a composition from the folk music of Thailand for Western percussion solo and ensembles. These compositions/arrangements were selected from Thai folk songs from the four regions of Thailand (central, northern, northeastern, and southern) in order to represent each region's culture and characteristics: Bats Eat Bananas for percussion ensemble, plus an excerpt for mallet percussion (from the central region); Long Mae Ping Fantasia for marimba solo and percussion ensemble (from the northern region); Mang Poo Tom Dok for percussion ensemble (from the northeastern region); and Krao Talung Dance for percussion ensemble (from the southern region). This study also includes a history of the selected folk songs and the instruments used, a brief introduction to traditional Thai percussion instruments and techniques, and a discussion of how these techniques can be adapted to Western instruments.
The purpose of this study is to introduce Thai music into Western awareness through the medium of Western percussion instruments. It also serves to assist Thai musicians, especially percussionists, in bringing Western percussion to Thailand and also generating renewed interest among Thai audiences for their own folk music—not only creating a new fusion style of music but also helping keep traditional Thai music alive for future generations.
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Kanchanahud, Nipat. "Exploring the Integration of Thai Traditional Music in Chakra by Narong Prangchareon, with a Conductor’s Guide." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804989/.
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This dissertation explores the integration of Thai traditional music in Chakra, for wind band, by Narong Prangchareon. Nipat Kanchanahud explores how Narong, inspired by Eastern philosophy, integrates elements of Thai traditional music and the types, styles, scales, and dialects of Thai culture with the formal elements of Western music and the instrumentation of the Western wind band. Chakra uniquely spans Eastern and Western cultures, creating a new musical language for both worlds to appreciate and enjoy. Further, the composition richly demonstrates the viability of the wind band as an international medium. The orchestration of Chakra reveals Narong’s musical lineage from Edgard Varèse through Chen Yi. A conductor’s guide, included with this dissertation, is designed to aid and encourage performances of Chakra throughout the world.
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Döhl, Frédéric. ""... that old barbershop sound" die Entstehung einer Tradition amerikanischer A-cappella-Musik." Stuttgart Steiner, 2009. http://d-nb.info/994828705/04.
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Bithell, Caroline. "Issues of identity and transformation in the revival of traditional song in 20th century Corsica : #O that my voice would pierce through every mountain!'." Thesis, Bangor University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247956.
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Olson, Ted S. "Songs that Tell a Story: Tracing the Passage of the Ballad Tradition from the British Isles to Appalachia." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5527.
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Mallangi, Siva Sai Reddy. "Low-Power Policies Based on DVFS for the MUSEIC v2 System-on-Chip." Thesis, KTH, Skolan för informations- och kommunikationsteknik (ICT), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-229443.
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Multi functional health monitoring wearable devices are quite prominent these days. Usually these devices are battery-operated and consequently are limited by their battery life (from few hours to a few weeks depending on the application). Of late, it was realized that these devices, which are currently being operated at fixed voltage and frequency, are capable of operating at multiple voltages and frequencies. By switching these voltages and frequencies to lower values based upon power requirements, these devices can achieve tremendous benefits in the form of energy savings. Dynamic Voltage and Frequency Scaling (DVFS) techniques have proven to be handy in this situation for an efficient trade-off between energy and timely behavior. Within imec, wearable devices make use of the indigenously developed MUSEIC v2 (Multi Sensor Integrated circuit version 2.0). This system is optimized for efficient and accurate collection, processing, and transfer of data from multiple (health) sensors. MUSEIC v2 has limited means in controlling the voltage and frequency dynamically. In this thesis we explore how traditional DVFS techniques can be applied to the MUSEIC v2. Experiments were conducted to find out the optimum power modes to efficiently operate and also to scale up-down the supply voltage and frequency. Considering the overhead caused when switching voltage and frequency, transition analysis was also done. Real-time and non real-time benchmarks were implemented based on these techniques and their performance results were obtained and analyzed. In this process, several state of the art scheduling algorithms and scaling techniques were reviewed in identifying a suitable technique. Using our proposed scaling technique implementation, we have achieved 86.95% power reduction in average, in contrast to the conventional way of the MUSEIC v2 chip’s processor operating at a fixed voltage and frequency. Techniques that include light sleep and deep sleep mode were also studied and implemented, which tested the system’s capability in accommodating Dynamic Power Management (DPM) techniques that can achieve greater benefits. A novel approach for implementing the deep sleep mechanism was also proposed and found that it can obtain up to 71.54% power savings, when compared to a traditional way of executing deep sleep mode.Nuförtiden så har multifunktionella bärbara hälsoenheter fått en betydande roll. Dessa enheter drivs vanligtvis av batterier och är därför begränsade av batteritiden (från ett par timmar till ett par veckor beroende på tillämpningen). På senaste tiden har det framkommit att dessa enheter som används vid en fast spänning och frekvens kan användas vid flera spänningar och frekvenser. Genom att byta till lägre spänning och frekvens på grund av effektbehov så kan enheterna få enorma fördelar när det kommer till energibesparing. Dynamisk skalning av spänning och frekvens-tekniker (såkallad Dynamic Voltage and Frequency Scaling, DVFS) har visat sig vara användbara i detta sammanhang för en effektiv avvägning mellan energi och beteende. Hos Imec så använder sig bärbara enheter av den internt utvecklade MUSEIC v2 (Multi Sensor Integrated circuit version 2.0). Systemet är optimerat för effektiv och korrekt insamling, bearbetning och överföring av data från flera (hälso) sensorer. MUSEIC v2 har begränsad möjlighet att styra spänningen och frekvensen dynamiskt. I detta examensarbete undersöker vi hur traditionella DVFS-tekniker kan appliceras på MUSEIC v2. Experiment utfördes för att ta reda på de optimala effektlägena och för att effektivt kunna styra och även skala upp matningsspänningen och frekvensen. Eftersom att ”overhead” skapades vid växling av spänning och frekvens gjordes också en övergångsanalys. Realtidsoch icke-realtidskalkyler genomfördes baserat på dessa tekniker och resultaten sammanställdes och analyserades. I denna process granskades flera toppmoderna schemaläggningsalgoritmer och skalningstekniker för att hitta en lämplig teknik. Genom att använda vår föreslagna skalningsteknikimplementering har vi uppnått 86,95% effektreduktion i jämförelse med det konventionella sättet att MUSEIC v2-chipets processor arbetar med en fast spänning och frekvens. Tekniker som inkluderar lätt sömn och djupt sömnläge studerades och implementerades, vilket testade systemets förmåga att tillgodose DPM-tekniker (Dynamic Power Management) som kan uppnå ännu större fördelar. En ny metod för att genomföra den djupa sömnmekanismen föreslogs också och enligt erhållna resultat så kan den ge upp till 71,54% lägre energiförbrukning jämfört med det traditionella sättet att implementera djupt sömnläge.
Books on the topic "Traditional thai music"
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Akins, Joel. Passing it on: Traditional lanna music in the modern-day city of Chiang Mai. Bangkok, Thailand: Institute of Asian Studies, Chulalongkorn University, 2012.
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1821-1891, White Cool, ed. That dancin' dolly: A retelling of Buffalo gals, a traditional American song. New York: Dutton Children's Books, 2004.
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" --that old barbershop sound": Die Entstehung einer Tradition amerikanischer A-capella-Musik. Stuttgart: Steiner, 2009.
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Sounding the center: History and aesthetics in Thai Buddhist performance. Chicago: University of Chicago Press, 2001.
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Thailand. Samnakngān Khana Kammakān Watthanatham hǣng Chāt., ed. Dontrī phư̄nbān læ sinlapa kānsadǣng khō̜ng Thai =: Folk music and traditional performing arts of Thailand. [Bangkok]: Samnakngān Khana Kammakān Watthanatham hǣng Chāt, Krasūang Sưksāthikān, 1985.
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Merchant, Tanya. Beyond the Canon. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0002.
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This chapter examines traditional music as a means to construct a cohesive pre-Soviet past in Uzbekistan. Traditional music encompasses three maqom traditions with roots in cities that currently exist within the borders of Uzbekistan: Xorazm maqom, Shashmaqom, and Tashkent-Ferghana maqom. The chapter first considers the history of the construction of the canon of traditional music in Uzbek institutions before discussing traditional music and maqom's links to nationalism in the city of Tashkent. It then looks at women's roles performing the great works in the maqom tradition, along with two masters of this tradition, Yunus Rajabi and Munojat Yulchieva. It also explores the role of maqom in the shift in cultural capital in Uzbekistan after independence. The chapter concludes with an assessment of dutar ensembles as an area of contested gender identity that is very much context dependent.
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Lufi & Friends. My First Russian Book That Sings Traditional Songs. Lufi & Friends, LLC, 2021.
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DeWitt, Mark F. Training in Local Oral Traditions. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0004.
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This chapter is a study of programs that offer performance training in oral-tradition musics at accredited two- and four-year postsecondary institutions in the United States, Canada, and Mexico, especially but not exclusively those that focus on traditions that developed in the region where the institution is located. The trajectory of oral-tradition musics in North American higher education is found to be one of gradual acceptance through many disconnected local efforts, resulting in a variety of solutions to problems inherent in reforming a curriculum not designed for the needs of learning in oral traditions. The chief intended audience of this chapter are faculty and administrators of schools and departments of music, especially those who are contemplating the addition of local oral-tradition music to their curriculum or are at least open to the idea of doing so.
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Manuel, Peter. Concluding Perspectives. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038815.003.0006.
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This concluding chapter presents some hypotheses and conclusions about Bhojpuri diasporic dynamics, broader implications for diaspora studies in general, the relation of music genres like tassa to Afrocreole culture, and the implications of this relationship for our understanding of the phenomenon of Caribbean creolization. It suggests that Indo-Caribbean culture, including music culture, can be seen as an ongoing dialectic product of three primary cultural realms—the transplanted but deeply local Bhojpuri little tradition, the imported North Indian great traditions (whether of visiting godmen or Bollywood blockbusters), and Afrocreole culture. The relation between the local Bhojpuri little tradition and the imported Indian great traditions is complex and in some ways competitive. While some cultural activists do lament the hegemony of imported filmsong over local music, others seem to feel that both Bhojpuri traditional songs and Bollywood fare can comfortably coexist.
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Hsu, Eddie. Traditional Music for the People. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0008.
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In this chapter I use Chinese music departments in the PRC and Taiwan as case studies, exploring how the process of institutionalization has reshaped traditional music in the region and how Chinese music programs have developed responses to growing concerns about their relevance to the surrounding community. More Chinese music programs now seek to develop curricula that incorporate the practices of oral/aural tradition from local musical communities. In an effort to make traditional music more accessible to a wider audience, some institutions attempt to increase their appeal through interdisciplinary collaborations and outreach events as well. I argue that collaborations between institutions and communities will become indispensable to Chinese music programs to help ensure an appropriate representation of local music genres and its relevance to local audiences.
Book chapters on the topic "Traditional thai music"
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Zhao, Junchuan. "An Improved Time Series Network Model Based on Multitrack Music Generation." In Proceeding of 2021 International Conference on Wireless Communications, Networking and Applications, 1202–8. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-2456-9_120.
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AbstractDeep learning architecture has become a cutting-edge method for automatic music generation, but there are still problems such as loss of music style and music structure. This paper presents an improved network structure of time series model based on multi-track music. A context generator is added to the traditional architecture. The context generator is responsible for generating cross-track contextual music features between tracks. The purpose is to better generate single-track and multi-track music features and tunes in time and space. A modified mapping model was further added to further modify the prediction results. Experiments show that compared with traditional methods, the proposed will partially improve the objective music evaluation index results.
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Sestili, Daniele. "‘Nature’ in Japanese Traditional ‘Music’." In Ca’ Foscari Japanese Studies. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-264-2/002.
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In this essay, I want to address the question of whether there exists a relationship between ‘nature’ and today’s Japanese traditional ‘music’, hōgaku. A further point is what ‘nature’ means within the discourses of the hōgaku music-making world. In relation to the issue of nature-music, I will concentrate on two questions among the many possible ones: is ‘nature’ a central element in the material culture of hōgaku, and, is ‘nature’ expressed somehow in hōgaku languages? Holding the position that interviewing traditional music-makers is the most adequate way in which to deal with such questions, as ideas are not separable from the practice of music, my intent is to provide some tentative answers.
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Michael, John. "Poe’s Posthumanism: Melancholy and the Music of Modernity." In Secular Lyric. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279715.003.0002.
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This chapter focuses on Poe’s debts to Sappho and to Petrarch and the ways in which his lyrics and tales assume and transform these traditions. Poe emerges not only as modern but as a post-humanist, despite his debts to the humanist tradition in the arts. Despite his exploitation of traditional forms of prosody, Poe becomes an origin of modern poetry in his insistence that poetic effect depends upon the materiality rather than the meaning of language, the musical elements of the signifier, rather than the meaning or abstraction of the signified. In this way he negotiates a critical relationship with art and a popular relation with the literary marketplace.
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Weltak, Marcel. "The European Tradition." In Surinamese Music in the Netherlands and Suriname, 36–52. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496816948.003.0005.
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This chapter discusses the European influences on Surinamese music and provides a survey of the most important classical music composers as well as detailing the music of military and police brass bands, church choirs, and bazuinkoor ensembles that played music with heavy European influences. European classical music in Suriname was mainly influenced by German composers, and predominately Johannes Sebastian Bach. The most plausible explanation for this can be found in the largest European religious denomination in Suriname the Protestant church founded by Moravian missionaries. Another influence stems from English church music that dates to the time of English rule. English hymns that together with German chorales that were played by the bazuinkoor (choir of trumpets) small ensembles of brass instruments, ended up becoming vehicles for the composer’s repertoire. The earliest songs were almost purely European, but gradually evolved to incorporate popular local rhythmic patterns to become part of compositions.
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Jahanbegloo, Ramin. "Tradition and Innovation." In Talking Poetry, 87—C22.P6. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192869180.003.0023.
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Abstract In literature or visual arts, classical or no classical, the number of people who are interested in these things is limited. Democracy, unfortunately, levels everything. The claims of popularity are forever pitched against the claims of significance. Importance of complexity in a certain sense is marginalized. The popular becomes accessible. Even the classical music is also sometimes tempted to do that. After all, the classical is music through sound and film and other forms of music are also music through sound. In India, tradition and change have never been seen as a binary. In India change is located within tradition rather than outside tradition, seldom separately.
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Brown, Reuben, and Solomon Nangamu. "“I’ll show you that manyardi”: Memory and lived experience in the performance of public ceremony in Western Arnhem Land." In Music, Dance and the Archive. Sydney University Press, 2022. http://dx.doi.org/10.30722/sup.9781743328675.02.
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This chapter examines the role of archival recordings as an aid to revive and maintain song and dance practices and connections to ancestry and Country associated with the living performance tradition manyardi in the region of Western Arnhem Land, Australia. Specifically, it addresses the questions: How do performance traditions such as manyardi from Western Arnhem Land materialise ancestral connections in the present? And how do archival recordings of songs inform and sustain the practice of manyardi and composition of new songs?
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Schmidt, Patrick. "Policy Beyond Traditional Walls." In Policy as Practice, 83–102. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190227029.003.0004.
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This chapter is framed from an entrepreneurship standpoint. The aim is to offer an interpretative view of policy as an ongoing affair that is not only about advice/influence or implementation/resistance but also, and perhaps as important, concerned with the construction and maintenance of relations among stakeholders. The chapter presents entrepreneurship as a kind of grass-roots disposition, demonstrating how it may become an important tool to push back and respond to external pressures, such as intensification of labor and performativity, as they continue to affect educational spaces. The chapter offers an analysis of music entrepreneurship, using multiple examples to highlight how they have acted as policy practices, generating changes in music education language, thinking, and practice.
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Tzimas, Rafail. "Mobile Music Interfaces Evaluation." In Advanced Technologies and Standards for Interactive Educational Television, 140–49. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-0253-2.ch007.
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The question is raised in this chapter as to whether educational television of all kinds, namely mobile phone, computer, TV tap, etc., can protect the musical character of every people in the newly formed environment. Specifically, Byzantine music is studied through multimedia and interactive systems, with the main aim of ensuring the musical tradition and correctness despite the influence of music from the inside, that is, by artists who use music in whatever way they think, not taking into account the delineated lines of tradition or the general musical diversity that tends to Westernize the music of the ever-prevailing Eastern Roman empire of Constantinople. Distance learning with artificial means is the most basic method of teaching music for the coming years. Researchers who want to preserve the traditional musical style of Byzantine music must seriously consider the new data in order to fully exploit the technology to solve the problems that arise. Below is a reference to the use of such systems because of the problems that exist and how they will be solved.
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Mei, Xiao, and Yang Xiao. "The “ICH Movement” in China." In Music, Communities, Sustainability, 101—C6.P48. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197609101.003.0006.
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Abstract Along with the Kunqu Art (昆曲艺术) and Guqin Art (古琴艺术), over 10 kinds of Chinese traditional music genres have been accepted into the Representative List of Oral and Intangible Heritage of Humanity by UNESCO. Considering this a national honor, the central government in China soon established a series of policies for the preservation of ICH. Next, local governments from cities and provinces started to support these policies. The country institutionalized an ICH system from county, city, and province level to state level. Government officials, academics and intellectuals, NGOs, mass media, commercial institutions, and culture bearers began to reconsider musical traditions in terms of their complexity from an ICH perspective, and actively engaged in the safeguarding and promotion of ICH in different ways over the past decade, which we may call the “ICH movement in China.” This chapter focuses on 11 kinds of music genres to observe what role the government played in classifying the extreme abundance of Chinese traditional music forms and qualifying them as ICH at different grades. What are the actual effects of various safeguarding policies and acts that have been carried out by different levels of government? What kind of dynamic relationships exist between the different forces in shaping this ICH movement and the future of traditional music in China? Based on their research data, the authors discuss some sensitive but core issues about Chinese traditional music vis-à-vis the ICH movement.
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Kurin, Richard. "Recognizing Intangible Cultural Heritage." In Music, Communities, Sustainability, 21—C2.P143. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197609101.003.0002.
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Abstract The 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage is an international treaty that has reached almost universal acceptance and has encouraged the development of global, regional, and national programs recognizing the importance of traditional music, artistry, and knowledge. The history of the Convention’s formulation implicates shifts in terminology, changes in disciplinary foci, debates about how best to ensure the vitality of grassroots traditions, and assessments of the relationships between cultural communities, scholars, and the state. This account of the Convention’s development comes from an anthropologist and cultural heritage practitioner who served as a Smithsonian Institution official, advisor to the US government, and participant in bringing the treaty to fruition.
Conference papers on the topic "Traditional thai music"
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Kusakunniran, Worapan, Attapol Prempanichnukul, Arthid Maneesutham, Kullachut Chocksawud, Suparus Tongsamui, and Kittikhun Thongkanchorn. "Optical music recognition for traditional Thai sheet music." In 2014 International Computer Science and Engineering Conference (ICSEC). IEEE, 2014. http://dx.doi.org/10.1109/icsec.2014.6978187.
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Boonmatham, Pheerasut, Sunee Pongpinigpinyo, and Tasanawan Soonklang. "Musical-scale characteristics for traditional Thai music genre classification." In 2013 International Computer Science and Engineering Conference (ICSEC). IEEE, 2013. http://dx.doi.org/10.1109/icsec.2013.6694784.
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Pintong, Sarawuth. "Revitalizing The National Folk Play: The Tiger Hunting Folk Play." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002046.
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“Kratua Thaeng Suea” is a story of hunting the tigers that trespass into town. It is a Thai traditional folk play which has been passed down from generation to generation for more than 200 years. However, this folk play is rapidly fading away from the Thai society due to the change of aesthetic preference which caused its unpopularity. Nowadays, there are only two troupes left in Bangkok which recently one of them decided to discontinue their show because of COVID-19 situation. How to preserve this intangible cultural heritage and combine it with modern aesthetics for transmission is an urgent issue. This study combines literature research and field trip methods in order to identify some of the problems faced in the dissemination of it. The research results show that, in order to renew this folk play that complement the new aesthetic preference, all related elements of this play such as its story, costumes, music, and performance need to be modernized. The new play will combine “Street Culture” such as street art, street fashion, street music, and street performance into the play with a new storyline which is twisted from the story of a tiger hunter to be rescuing the tigers instead. All of this could draw some attention from the society and thus achieve the goal of sustainable inheritance and preservation of this folk play. The new concept of “Kratua Thaeng Suea” is the combination between the old and the new which does not only reflect the beauty of cultural dynamic or build up the sense of ecological awareness in the form of “Soft Power”, but also provides a “Cultural Revitalizing model” which could be an alternative model to inherit the culture.
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Casini, Luca, and Bob L. T. Sturm. "Tradformer: A Transformer Model of Traditional Music Transcriptions." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/681.
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We explore the transformer neural network architecture for modeling music, specifically Irish and Swedish traditional dance music. Given the repetitive structures of these kinds of music, the transformer should be as successful with fewer parameters and complexity as the hitherto most successful model, a vanilla long short-term memory network. We find that achieving good performance with the transformer is not straightforward, and careful consideration is needed for the sampling strategy, evaluating intermediate outputs in relation to engineering choices, and finally analyzing what the model learns. We discuss these points with several illustrations, providing reusable insights for engineering other music generation systems. We also report the high performance of our final transformer model in a competition of music generation systems focused on a type of Swedish dance.
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Fütterer, Daniel. "Herausforderungen bei der Kodierung von Paratext am Beispiel Neuer Musik mit Live-Elektronik." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.103.
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In traditional scholarly editions of music, peritext only plays a minor role so far. Peritexts can be defined as integral components of a score, for example a foreword, that are not part of the musical text. Especially in New Music, which is often intentionally breaking with implicit performance traditions, peritexts might offer essential information, e. g. on the arrangement of instruments and personal on the stage, about the used effects and hardware, and on verbal instructions to the interpreters. Encoding this information to be fully accessible for a scholarly digital music edition, is an important challenge. The poster is explaining this issue using an example by Joachim Krebs.
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Tragtenberg, João, Filipe Calegario, Giordano Cabral, and Geber Ramalho. "TumTá and Pisada: Two Foot-controlled Digital Dance and Music Instruments Inspired by Popular Brazillian Traditions." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10426.
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This paper presents the development process of “TumTá”, a wearable Digital Dance and Music Instrument that triggers sound samples from foot stomps and “Pisada,” a dance-enabled MIDI pedalboard. It was developed between 2012 and 2017 for the use of Helder Vasconcelos, a dancer and musician formed by the traditions of Cavalo Marinho and Maracatu Rural from Pernambuco. The design of this instrument was inspired by traditional instruments like the Zabumba and by the gestural vocabulary from Cavalo Marinho, to make music and dance at the same time. The development process of this instrument is described in the three prototyping phases conducted by three approaches: building blocks, artisanal, and digital fabrication. The process of designing digital technology inspired by Brazilian traditions is analyzed, lessons learned, and future works are presented.
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Galaicu, Violina. "Byzantine religious chanting between oral and written tradition." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.15.
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Those who scrutinized the historical development of Byzantine liturgical chanting could notice the late codification of this music. With the transition to the written tradition, a clear tendency to preserve orality in the new hypostasis emerged. Proto-Byzantine chanting circulated orally, this being conditioned by the original orality of the evangelical tradition. When the Eastern promoters of Christian liturgical chanting felt the need to codify the cultic repertoire, they resorted to the Ekphonetic notation, and later to the Diastematic one. Ekphonetic notation is a rudimentary notation, it has a mnemonic function, meaning the purpose of reminding the performer of a certain melodic formula that he knew before. The Diastematic notation, although it fixes several details of the melodic thread, also leaves enough room for interpretive ambiguity and can only be deciphered satisfactorily by those familiar with traditional practice. The attempt to explain the reluctance of the promoters of Byzantine religious music towards written codification will lead us to the deep roots of this art, as well as to its liturgical functionality.
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"Usage Habits in Music Streaming Applications and Their Influence on Privacy Related Issues [Research in Progress]." In InSITE 2019: Informing Science + IT Education Conferences: Jerusalem. Informing Science Institute, 2019. http://dx.doi.org/10.28945/4272.
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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In a later stage, we intend to test privacy related issues in music streaming applications and the factors that influence privacy concerns when using these services. Methodology: This is examined by using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage includes semi-structured interviews with 10 music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g. change in classification methods and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 200-250 users of music streaming applications, aiming to explore personal information management issues and privacy related issues that emerge while using these applications (e.g. privacy concerns). Currently, a pilot of the qualitative stage was issued. Findings: We found that users still rely on traditional methods of personal information management, rather than making use of the newer features available by the innovative music streaming applications. The same applies to the use of these applications as part of a social activity. In addition, it seems that the emergence of music streaming applications influenced the sense of ownership over songs in personal music libraries and made it ambiguous among music consumers. Contribution: As far as we know, this is the first academic research to investigate the issue of personal music management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications.
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Dzhumanova, Lola. "The melodic dictation in the traditions of Russian music education." In HEAd'16 - International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/head16.2016.2576.
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In Russia solfeggio became an academic subject at the time of foundation of Saint-Petersburg and Moscow conservatories. Coming from Western Europe, in Russia solfeggio gained its own traditions of teaching. There were established three main activities – vocal and intonation exercises, hearing analysis and dictation. They were defined by the scientist of the ХХth century – professor of Moscow Conservatory I.V. Sposobin.It is a melodic dictation that became a comprehensive model for the development of prospect musicians’ skills. The reason is in the combination of various tasks, such as the ability to hear, realize, memorize and record a relatively complete musical part based on a certain number of replays. Over the years of evolution in the Russian teaching school the dictation obtained logical representation, enabling to teach and perceive music, tonal and atonal. The same dictation significantly differs in the Russian tradition from its French analogue.The report describes the evolution in the three-level system of music education, comparing it to the traditions of other countries.Key words: solfeggio, a melodic dictation, a comprehensive task, multilevel musical thinking.
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Mukai, Hibiki. "An Interactive and Digital Puppeteering Interface for new musical expression (IDPI)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.115.
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Puppetry is the oldest form of the virtual reality and has a strong tradition as a theatrical art. The aim of this research project is to create digital puppeteering system which translates gestural acts into live and expressive control of virtual 3D models including in real-time 3D sound. I will devise a model of practice that extends our understanding and notion of the digital puppet. It seeks to establish new practical and conceptual relations between the puppet and new technologies in the framework of puppet theatre. The practical aim is to focus on the special spirit of animated 3D models and silhouettes and to contribute to cultural preservation and fixing of the tradition(s) of puppet theatre. This project will explore the potential of puppetry as a musical expressive medium by new media, including the sensor, 3D sound system, digital projection, and 3D simulation. The conceptual aim of the project is to integrate traditional and new forms of puppetry through different interfaces that will advance traditional forms of cultural expressions. This project focuses on analogies and differences between different puppet theatre traditions. A key aspect is the relationship between the Western puppetry and the Eastern puppetry traditions, and the impact of the resulting cross- cultural dialogue in dramatic performances with figures. In seeking to identify the potential effects of digital puppetry, I will obtain a new vocabulary for gestural musical performance and can develop guidelines that can be used for future creative theatrical practice in the field of digital puppetry. The aim of my research project is to design an interactive digital puppetry system which is sensitive to gestural acts of puppeteers and enriches the performances as a musical expressive medium on its own right. Such a system will serve creative possibilities using digitalisations of old forms by puppet restoration and preserving its instructions. Through analyses of European and Japanese traditional puppet theatres, I will achieve a new cross-cultural form of puppetry. Thus, I investigate how acts and music of puppetry can be restored from not only actual traditional. puppet theatre, but also archives and documents, then performed and remediated with digital performance technology. Furthermore, my investigation includes in transitioning layers between old and new media — objects of puppet theatre and digital simulation – alternative action and transformation. I believe that the digital re-presentation of traditional puppetry is one of the most efficient and effective ways to impart to later generations and also to revitalise the arts of puppet theatres. An orientation toward new medias will enable me to explore 'tradition' and the puppet as a technological media object. Through my digital practice and an encounter with old, lost, forgotten puppet theatre, I set out to create something new.
Reports on the topic "Traditional thai music"
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.
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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.
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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.503395.
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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.