The Rhythm of Birds: A Programmatic Musical Composition about Living in Tanjung Malim (original) (raw)
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European Journal of Research , 2020
Ethnomusicology, formerly known as Comparative Musicology (Ethnomusicology Newsletter in 1953) is a theoretical subject which is the combination of archiving, research, teaching & learning, presentation, outreaching, interviewing, gathering data, observation, documenting musical tradition, for the development of human being, global development, community sustainability, peace and harmony, social integrity, justice, health and education. It is music like other music through singing, dancing, playing instruments, drama, poetry (Ramayana, a great Indian epic written by a great monk and poet Tulsi Das, it reflexes nationalism, music folklore, ethnology (Giving Voice to Hope for Liberia, a refugee camp in Ghana's village is the combination of nationalism, folklore and ethnology, international folk music council, a UNESCO affiliated organization created for international cooperation manifested in the creation of the United Nations). The paper aims to explore Ethnomusicology as an independent subject from the subject of Musicology and to know traditional music from around the world through its participatory research activities within the community and in the classroom. The outcome is to establish and understanding its glimpses to the society, its complexity through social, economic, cultural bonds in every ethnic and traditional community such as discover of Pigmy Community through the reading of Rain Forest. The question is how does Ethnomusicology work as a medication for the deprived community from the ancient world to the present world? The future activities are to expand its various roots by writing and researching especially to know about the music of lost communities from humanity such as Maya civilization.
Waringin: Recording a Composition with Gamelan Salukat, a Crossroads of Music and Culture
Nota Bene: Canadian Undergraduate Journal of Musicology, 2020
As the subject of numerous studies over the last century, Balinese music has been presented in a particular light. In the 21st Century, it has been a priority for Western musicologists to renew our outdated or inaccurate conceptions. This paper joins that discourse by presenting an intercultural project as an opportunity to bring the perspective of Balinese musicians under consideration. Recently, I undertook a recording project in Bali, working on my composition “Waringin,” written for Gamelan Salukat. Gamelan Salukat is a 20-30-person bronze ensemble with a radical tuning system, comprised of young musicians (~18-30 yrs.) from around the Ubud region of Central Bali. The project became a crossroads of musicianship, uncovering many intriguing tensions—notation versus oral learning, counting rhythms versus feeling or embodying rhythms, and composition versus improvisation. The following ethnographic account explores how the young Balinese musicians tackled the problems we faced...
Encyclopedia of Public Health
Of all the arts, music is regarded as the most universal in its appeal and acceptance. This universality, however, does not mean that music is without individual character. Each country has its own kind of music that embodies the total experience, the collective consciousness of its people. Music, therefore, is the collective expression of the musical genius of a particular people. Such is the case of Philippine music which today is regarded as a unique blending of two great musical traditions-the East and the West. Being innately musical, the Filipinos, from the earliest to contemporary times, have imbibed these traditions and have woven their musical creations along these mainstreams of musical thought. Through time, Philippine society has witnessed the evolution of music expressed in different forms and stylistic nuances. A people gifted with a strong sense of musicality, the Filipinos turn to music to express their innermost feelings. Hence, every song they sing, every instrument they play, every music they make is a direct, almost spontaneous reflection of their hopes and longings, frustrations and fulfillment, failures and triumphs-Antonio C. Hila ndigenous music before the colonial era was largely functional. Expressed either instrumentally or vocally or a combination of both, music was deeply integrated with the activities of the natives. The ancient Filipinos had music practically for all occasions, for every phase of life, from birth to death. This type of music is largely retained and practiced by about 10 percent of the population concentrated mainly in three regions: Northern Luzon, the Central Philippine islands of Mindoro and Palawan and the southern islands of Mindanano and Sulu. In Mindanao and Sulu, two musical and cultural traditions may be noted-the Islamic, consisting of such groups as the Maguindanao, Maranao, Yakan, Tausog and Samal, and the pre-Islamic which is composed of the Bagobo, Manobo, Bukidnon, Tagakaolo, Bilaan, Mansaka, Subanon and Mandaya, among others. The understanding of Philippine ethnic music is premised on an appreciation of indigenous instruments which are used in the various ritual and secular activities of these two peoples and which are generally grouped into the aerophones or wind instruments; chordophones or stringed instruments; idiophones or percussion instruments struck with a mallet, or against each other, or against another object like the hand; and membranophones or percussion instruments using animal skins or membranes. A few differences may be noted between the instruments of the Northern and Southern Philippines. These differences lie primarily in the manner of construction, the style of playing them and the sound they produce. By and large, however, instruments found all over the Islands are strikingly similar. The aerophones are best represented by the many types of bamboo flutes that are found all over the country. The lip valley flute found in the North is called the paldong, or kaldong of the Kalinga. In the South Maguindanao call it palendag, the Manobo, pulalu. This flute has three holes on one side and fourth hole on the opposite side.
Music is a universal language understood by humans irrespective of the language and instruments used. As God"s special gift to man, music has the prospect of healing the sick particularly people who suffer fit of psychological traumas. The paper examines music and musical instruments in Tivland using the phenomenological apparatus. The research is necessitated by the disappearance of Tiv musical instrument in lieu of instruments from the west. The primary and secondary sources data of collection were employed in the process; field work was undertaken guided by oral interview and the use of documented sources from books and journals. The study established that most of the musical instruments belonging to the Tiv are being lost and forgotten as a result of non usage and adoption of foreign/modern musical instruments from the west as well as those from neighbouring ethnic groups. For instance, the adiguve is hardly recognised by Tiv of contemporary times. In view of this ugly scenario, the paper calls for the establishment of a museum devoted to the collection and preservation of Tiv musical instruments for posterity. It is our hope that the study will lead to a revival in the use of these forgotten musical instruments of the Tiv so that they are not completely forgotten. This will not only be a positive development towards the preservation of these musical instruments but Tiv culture in general.
Preserving creativity in music practice / edited by Gisa Jähnichen and Julia Chieng. Universiti Putra Malaysia Press, Serdang 2011: 13-48
""The basic prerequisite for conducting in-depth scientific studies is, without doubt, an appropriate methodological approach and its accurate elaboration. “Ethnomusicology is both a field and a laboratory discipline; the laboratory phase must flow out of the field phase, and we must seek to achieve a balance between the two…” (Merriam, 1964: 39). Depending on the subject matter to be discussed, the technological orientations that require a thorough preparation at the outset, of course, vary from one research bjective to the other. For that matter, it is important to raise questions about specific aspects of study and to seek suitable answers. In this paper, a theoretical methodology consisting of all relevant issues has been designed to examine traditional musical instruments, particularly aerophones found in East Africa. How should traditional musical instruments of a human group, a culture, a region or a nation be examined? Which methodologies are to be applied to perceive, understand, Interpret and help to acquire a thorough knowledge about music instruments, songs and dance repertoires related to them? Which methodology must a scholar, who is aspiring to utilise collected data in the laboratory, follow prior to meeting the research objectives? Since music is a product of human societies, which aspects of culture are to be considered in the intended study?""
Technology tends to destroy traditional music practices." *Make it Indigenous*: The power of Native American and Inuit Music on TikTok. Ethnomusicology and Western musical pedagogy have long grappled with the issue of Native American music in the classroom, as lessons can often become decontextualised by the use of recordings, videos, and pictures that lack nuanced understanding (Sarrazin 1995, 33). More broadly, representations of Native Americans in popular culture-for example, movies and television-have blurred the lines between specific tribal cultures and have caused the blending of previously unrelated practices into what Howard (1983) described as Pan-Indianism. In 2020, we have seen an astronomical rise in the use of the short-form video and music platform TikTok, including the growing popularity of Native or Indigenous TikTok.
Inaugural Symposium of the ICTMD Study-Group-in-the-Making Multispecies Sound and Movement Studies, 2024
Paper presented at the 'Inaugural Symposium of the ICTMD Study-Group-in-the-Making Multispecies Sound and Movement Studies (Nuremberg University of Music, Germany October 24-26, 2024) Why More-Than-Human Musicking Now? The challenge of defining ‘music’ and ‘sound’ across cultures has been a persistent concern in ethnomusicological research from the outset of the field. The uncritical application of these top-down concepts often eclipses the rich plurality of local classifications for diverse sounding practices and experiences, along with their associated bodies of knowledge. This paper critically examines the relevance of these overarching categories in the context of Sámi acoustemologies, proposing a novel theoretical paradigm derived from and informed by Indigenous sound ontologies. This alternative concept seeks to challenge ethno-anthropocentric characterizations of sonic relationships within past and current ethnographic literature. Its bottom-up nature underscores the necessity of acknowledging both the complexity of local onto-epistemologies and the agencies of human and other Earth beings in academic research practices. To measure the validity of this paradigm, particular emphasis is placed on juoiggus, a Sámi expression that bridges human performativity and aesthetics with voices of other-than-human subjectivities and animate environments. According to Sámi scholar Maj-Lis Skaltje, juoiggus inherited its notes from the sound of birds, streams, and wind. While ethnographic literature dismisses active participation of other-than-human beings in joik performances and defines it as an exclusively human practice, Indigenous onto-epistemologies reinforce how juoiggus cannot be limited to the human realm and is rather voiced by any organic and inorganic feature in the land too. Joik melodies can be heard in the howling of wind, in the cawing of crows, in the buzzing of mosquitoes. But how musical is the mosquito? The paper focuses on this question addressing it through the presentation of joik performances, oral stories and field recordings co-created with Sámi juoigit during doctoral fieldwork. It illustrates how even the voice of such an undesirable non-human being can inspire a paradigm shift across disciplines, compelling us ethno- and eco-musicologists to reconsider our approaches and responsibilities.