The performing arts industry has always been an ever-evolving industry due to the creative nature of this industry. Although the symphony orchestra has not seen much physical dramatic changes since perhaps the late 1800’s, current events worldwide such as the outbreak of the Covid-19 pandemic, the economic uncertainty as well as technological advancements has seen the operations of many symphony orchestras hitting the pause button, many unsure if the orchestra might resume their operations. Symphony orchestras worldwide are forced to come out with various ideas to re-invent and re-shape itself. This paper aims to examine the possibilities of how a symphony orchestra, an institution that is heavily dependent on audiences filling up their concerts is re-inventing itself in order to sustain their very existence. Ongoing efforts such as digitalising ‘live’ concerts through digital platforms and other arising issues such as choice of technological equipment, cost and revenue as well as the perception of orchestral musicians and audiences of such re-invention and re-shaping of the symphony orchestra will be discussed. The findings from this paper may be used to further develop the ideas of re-invention and re-shaping symphony orchestras based on the demands and needs of each individual orchestra.
{"title":"Re-inventing and Re-shaping the Symphony Orchestra for Sustainability","authors":"Gerald Ng Kea Chye","doi":"10.30819/5319.08","DOIUrl":"https://doi.org/10.30819/5319.08","url":null,"abstract":"\u0000 The performing arts industry has always been an ever-evolving industry due to the creative\u0000nature of this industry. Although the symphony orchestra has not seen much physical dramatic\u0000changes since perhaps the late 1800’s, current events worldwide such as the outbreak of the\u0000Covid-19 pandemic, the economic uncertainty as well as technological advancements has seen\u0000the operations of many symphony orchestras hitting the pause button, many unsure if the\u0000orchestra might resume their operations. Symphony orchestras worldwide are forced to come out\u0000with various ideas to re-invent and re-shape itself.\u0000This paper aims to examine the possibilities of how a symphony orchestra, an institution that is\u0000heavily dependent on audiences filling up their concerts is re-inventing itself in order to sustain\u0000their very existence. Ongoing efforts such as digitalising ‘live’ concerts through digital platforms\u0000and other arising issues such as choice of technological equipment, cost and revenue as well as\u0000the perception of orchestral musicians and audiences of such re-invention and re-shaping of the\u0000symphony orchestra will be discussed. The findings from this paper may be used to further\u0000develop the ideas of re-invention and re-shaping symphony orchestras based on the demands\u0000and needs of each individual orchestra.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133249846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
At the last meeting of the Study Group on Musical Instruments in Lisbon (2019), my discussion focused on teaching and learning musical instruments in Japanese schools. I reported about the musical instruments applied for educational purposes from a historical perspective. Examining the introduction and development of instrument education in music classes revealed that various musical instruments have been used as teaching tools. On the one hand, some of them are a reinvention or an improvement of already existing musical instruments. On the other hand, cultural and socio-economic factors always play a vital role in adopting and mastering musical instruments in formal education. In this paper, as a follow-up study of the topic, I will give due emphasis on the musical instruments recommended in the educational guidelines. Consequently, I will examine their organology and the ideas behind applying specific musical instruments in school education.
{"title":"Musical Instruments in Japanese School Education: Ideas, Policy, and Reality","authors":"Rinko Fujita","doi":"10.30819/5319.01","DOIUrl":"https://doi.org/10.30819/5319.01","url":null,"abstract":"\u0000 At the last meeting of the Study Group on Musical Instruments in Lisbon (2019), my discussion\u0000focused on teaching and learning musical instruments in Japanese schools. I reported about the\u0000musical instruments applied for educational purposes from a historical perspective. Examining\u0000the introduction and development of instrument education in music classes revealed that various\u0000musical instruments have been used as teaching tools. On the one hand, some of them are a reinvention\u0000or an improvement of already existing musical instruments. On the other hand, cultural\u0000and socio-economic factors always play a vital role in adopting and mastering musical\u0000instruments in formal education.\u0000In this paper, as a follow-up study of the topic, I will give due emphasis on the musical\u0000instruments recommended in the educational guidelines. Consequently, I will examine their\u0000organology and the ideas behind applying specific musical instruments in school education.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131471504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper focuses on one of the skilled individuals who invented a number of musical instruments which are not intended to be used or experienced by others. The instrument maker lives in an outskirt of Kandy. He has crafted many new musical instruments in addition to the replicas of musical instruments used for pop music. He articulates that he crafted these instruments not for earning money or to become popular as a good craftsman or musician but for his own personal satisfaction. The extended discussion with him implied that It is not that “he just makes instruments for his own satisfaction” but there are other reasons tied together with his background, crafting skills and musical interests, opinions about the society and his world view. In this research, his views on music, musical instrument playing, crafting and commoditization of musical instruments are explored. previous literature on organology, musical instrument making, and some socio-musicological studies are investigated in this regard as well as personal interviews with the craftsman were conducted in order to gather information that will be finally discussed. This research may provide some insights towards the future of creative arts and an un-industrialization of instrumental music, which can be seen as a contribution to sustaining human societies.
{"title":"The Man Who Does Not Sell","authors":"Nishadi Meddegoda","doi":"10.30819/5319.06","DOIUrl":"https://doi.org/10.30819/5319.06","url":null,"abstract":"\u0000 This paper focuses on one of the skilled individuals who invented a number of musical\u0000instruments which are not intended to be used or experienced by others. The instrument maker\u0000lives in an outskirt of Kandy. He has crafted many new musical instruments in addition to the\u0000replicas of musical instruments used for pop music. He articulates that he crafted these\u0000instruments not for earning money or to become popular as a good craftsman or musician but for\u0000his own personal satisfaction. The extended discussion with him implied that It is not that “he\u0000just makes instruments for his own satisfaction” but there are other reasons tied together with his\u0000background, crafting skills and musical interests, opinions about the society and his world view.\u0000In this research, his views on music, musical instrument playing, crafting and commoditization\u0000of musical instruments are explored. previous literature on organology, musical instrument\u0000making, and some socio-musicological studies are investigated in this regard as well as personal\u0000interviews with the craftsman were conducted in order to gather information that will be finally\u0000discussed. This research may provide some insights towards the future of creative arts and an\u0000un-industrialization of instrumental music, which can be seen as a contribution to sustaining\u0000human societies.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121878737","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sri Lanka is a country where the coconut plant (Cocos nuceifera) is of utmost importance to daily activities. However, while the coconut fruit is used in meals every day, the shell is usually discarded in modern times. This is a case study that aims to investigate the modern application of the usually discarded object, the coconut shell, within a musical instrument and the quality and feasibility of such a musical instrument. First, the importance of the coconut plant in Sri Lankan culture and daily life is to be discussed, through which, the historic application of coconut shells as a raw material to construct musical instruments is to be investigated. Leading on to question the modern use of coconut shells as such, a selected instrument, the tharanga beraya was then investigated. Finally, comparisons of this to the traditional percussion instrument, the thammattama, was considered. While this research is qualitative in nature, discussions and field observations were used as a primary source and the relevant texts and articles on matters were used as secondary sources of information. Audio-video techniques were used to document the relevant data. Conclusions and thoughts on the future for this instrument were brought out in the end.
{"title":"Re-invention through Recycling: Tharanga Beraya","authors":"W. Tilakaratna","doi":"10.30819/5319.12","DOIUrl":"https://doi.org/10.30819/5319.12","url":null,"abstract":"\u0000 Sri Lanka is a country where the coconut plant (Cocos nuceifera) is of utmost\u0000importance to daily activities. However, while the coconut fruit is used in meals every\u0000day, the shell is usually discarded in modern times. This is a case study that aims to\u0000investigate the modern application of the usually discarded object, the coconut shell,\u0000within a musical instrument and the quality and feasibility of such a musical\u0000instrument. First, the importance of the coconut plant in Sri Lankan culture and daily\u0000life is to be discussed, through which, the historic application of coconut shells as a\u0000raw material to construct musical instruments is to be investigated. Leading on to\u0000question the modern use of coconut shells as such, a selected instrument, the tharanga\u0000beraya was then investigated. Finally, comparisons of this to the traditional percussion\u0000instrument, the thammattama, was considered. While this research is qualitative in\u0000nature, discussions and field observations were used as a primary source and the\u0000relevant texts and articles on matters were used as secondary sources of information.\u0000Audio-video techniques were used to document the relevant data. Conclusions and\u0000thoughts on the future for this instrument were brought out in the end.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124484740","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dambus is one of the art products (traditional music) found on Bangka Island used by the landbased people. They are obviously related to Malay people. Dambus is a term used for musical instruments, music (ensembles), patterns, techniques, songs and dances. The dambus art in its ensemble consisted of a tawak-tawak, a larger main drum, anak drum that was smaller in size, a tambourine and a gong. The dambus has a unique feature. It is the instrument head shape that resembles a deer head which contrasts with Malay beliefs namely with the teachings of Islam. In Islamic teachings it is strictly prohibited to make something similar to a statue or idol as the form of a dambus. The Bangka community also had the activity of ngelapun or berasuk in the past. Ngelapon or berasuk is a community activity that hunts deer in groups using a type of Lelapun (trap). During the Berume event, tradition of Ngetep Nasik Baru, Rusa's animal meat was one of the side dishes presented during the process of preparing food from the first crop, called ‘new rice’. This research will explain how all these things are interconnected to get a common thread about the meaning of the deer head representation on the musical instrument dambus of Bangka.
{"title":"The Meaning of the Deer Representation on Dambus from Bangka Island","authors":"Onny Nur Pratama","doi":"10.30819/5319.18","DOIUrl":"https://doi.org/10.30819/5319.18","url":null,"abstract":"\u0000 Dambus is one of the art products (traditional music) found on Bangka Island used by the landbased\u0000people. They are obviously related to Malay people.\u0000Dambus is a term used for musical instruments, music (ensembles), patterns, techniques, songs\u0000and dances. The dambus art in its ensemble consisted of a tawak-tawak, a larger main drum, anak\u0000drum that was smaller in size, a tambourine and a gong. The dambus has a unique feature. It is\u0000the instrument head shape that resembles a deer head which contrasts with Malay beliefs namely\u0000with the teachings of Islam. In Islamic teachings it is strictly prohibited to make something similar\u0000to a statue or idol as the form of a dambus.\u0000The Bangka community also had the activity of ngelapun or berasuk in the past. Ngelapon or\u0000berasuk is a community activity that hunts deer in groups using a type of Lelapun (trap). During\u0000the Berume event, tradition of Ngetep Nasik Baru, Rusa's animal meat was one of the side dishes\u0000presented during the process of preparing food from the first crop, called ‘new rice’. This research\u0000will explain how all these things are interconnected to get a common thread about the meaning\u0000of the deer head representation on the musical instrument dambus of Bangka.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114943523","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When working with Pamalka Manjitha Karunanayake in 2018, the two of us ended up recording in Cult Studios (Colombo, Sri Lanka). There, I audio-recorded Pamalka's rendering of some marvelous samples all of which showcasing his deep understanding of the raga charukeshi. Charukeshi is a highly ambivalent raga. As a result, the performance of a skilled player will always convey joy as well as grief, and oscillate between emotional qualities. On this December 4th 2018 none of us had any clue about the catastrophes that were in store. Nevertheless, I had field-recorded impressive sounds of some demolition machinery, tearing down an old building that had been used as an arts centre in Fulda, central-Germany. That was meant to gentrify the neighbourhood. I brought these somehow eerie recordings to my longtime colleague Bernie Rothauer in Salzburg to see what could be done with them in his Ôbaxé studio. Bernie loves to work with weird soundscapes. My then working title was "Making a Trance." This contribution comes as a post-workshop interview about how that music came into being.
{"title":"Worlds Falling Apart — The Bowed String Instrument Esraj Amid a\u0000Demolition Scene","authors":"Pamalka Manjitha Karunanayake, Manfred Bartmann","doi":"10.30819/5319.04","DOIUrl":"https://doi.org/10.30819/5319.04","url":null,"abstract":"\u0000 When working with Pamalka Manjitha Karunanayake in 2018, the two of us ended up recording\u0000in Cult Studios (Colombo, Sri Lanka). There, I audio-recorded Pamalka's rendering of some\u0000marvelous samples all of which showcasing his deep understanding of the raga charukeshi.\u0000Charukeshi is a highly ambivalent raga. As a result, the performance of a skilled player will\u0000always convey joy as well as grief, and oscillate between emotional qualities.\u0000On this December 4th 2018 none of us had any clue about the catastrophes that were in store.\u0000Nevertheless, I had field-recorded impressive sounds of some demolition machinery, tearing\u0000down an old building that had been used as an arts centre in Fulda, central-Germany. That was\u0000meant to gentrify the neighbourhood. I brought these somehow eerie recordings to my longtime\u0000colleague Bernie Rothauer in Salzburg to see what could be done with them in his Ôbaxé studio.\u0000Bernie loves to work with weird soundscapes. My then working title was \"Making a Trance.\" This\u0000contribution comes as a post-workshop interview about how that music came into being.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129738542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As indicated by archeological and literary sources, the pot drum has been a membranaphone of popular use since the Anuradhapura kingdom. It has been seen in various forms as Kumbha beraya, kala beraya, bummadiya or bimbisaka. This drum, being made out of clay in the shape of a gourd with an elongated neck or in that of a clay pot had a stretched skin of goat hide, monitor lizard hide or monkey hide. The use of these raw materials and how it brings harmony between the pottery industry and villagers in the processes of making the bummadiya is of importance. Through this research, understanding the Sri Lankan pot drum as a primary musical instrument and studying its historical and cultural aspects served as a foundation. After which, the objectives of identifying the role the pot-drum plays in sustainability were discussed. Finally, an investigation into an evolutionary stage of the pot drum in modern times, the thunpata beraya, was investigated. While this is a qualitative research, literary and archeological sources were used to collect data through discussions and field visits. The cultural texts and articles written throughout the ages on the Sri Lankan pot drum were used as secondary sources. Judgment sampling was the background behind the selection of data sources. Audio-visual methods were also used in collecting data. The human activity of using a material such as clay to express creativity in the form of music is of significance here.
考古和文献资料表明，自阿努拉德普勒王国以来，锅鼓一直是一种流行使用的膜式电话。它以各种形式出现，如Kumbhaberaya, kala beraya, bummadiya或bimbisaka。这种鼓是用粘土做成的，形状像一个长脖子的葫芦，或者是用陶罐做成的，外皮用山羊皮、巨蜥皮或猴皮拉长。这些原材料的使用以及它如何在制作bummadiya的过程中使制陶工业和村民之间和谐相处是很重要的。通过这项研究，了解作为主要乐器的斯里兰卡锅鼓，研究其历史和文化方面是一个基础。之后，讨论了确定鼓在可持续性方面的作用的目标。最后，研究了现代锅鼓的一个进化阶段，即thunpata beraya。虽然这是一项定性研究，但通过讨论和实地考察，我们使用了文学和考古资料来收集数据。古今中外写在斯里兰卡锅鼓上的文化文本和文章被用作次要来源。判断抽样是选择数据源背后的背景。资料收集也采用视听方法。人类利用粘土等材料以音乐的形式表现创造性的活动在这里具有重要意义。
{"title":"Sustainability and Re-invention: The Pot Drum in Sri Lanka","authors":"I. S. Weerakkody","doi":"10.30819/5319.13","DOIUrl":"https://doi.org/10.30819/5319.13","url":null,"abstract":"\u0000 As indicated by archeological and literary sources, the pot drum has been a membranaphone of\u0000popular use since the Anuradhapura kingdom. It has been seen in various forms as Kumbha\u0000beraya, kala beraya, bummadiya or bimbisaka. This drum, being made out of clay in the shape of\u0000a gourd with an elongated neck or in that of a clay pot had a stretched skin of goat hide, monitor\u0000lizard hide or monkey hide. The use of these raw materials and how it brings harmony between\u0000the pottery industry and villagers in the processes of making the bummadiya is of importance.\u0000Through this research, understanding the Sri Lankan pot drum as a primary musical instrument\u0000and studying its historical and cultural aspects served as a foundation. After which, the objectives\u0000of identifying the role the pot-drum plays in sustainability were discussed. Finally, an\u0000investigation into an evolutionary stage of the pot drum in modern times, the thunpata beraya,\u0000was investigated. While this is a qualitative research, literary and archeological sources were used\u0000to collect data through discussions and field visits. The cultural texts and articles written\u0000throughout the ages on the Sri Lankan pot drum were used as secondary sources. Judgment\u0000sampling was the background behind the selection of data sources. Audio-visual methods were\u0000also used in collecting data. The human activity of using a material such as clay to express\u0000creativity in the form of music is of significance here.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129711250","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This research explores how instrumental music has been used as ambient music in selected popular tourist places in Sri Lanka. The domain of the study is confined within the coastal areas in Western Province where tourism is active at present. The places of catering, fast food, and various eateries and drinks have facilitated certain ambient music which is mostly chosen purposefully to attract and to entertain the guests. There must be a certain joint feature of opinions among food entertainers on matching food taste with instrumental music. The main purpose of this study is to explore how Sri Lankan food entertainers facilitate instrumental music to attract and to entertain their guests while consuming food and other attractions. Under the given circumstances of fading large scale tourist business, local business is still flourishing. The choice of entertainment might have been changed. Also, many online possibilities were created by using ambient music. All these current changes need to be considered while analysing collected material. This short-term research is seeking answers to the following questions: How are tourist demands assessed? Who is involved in decision-making about the repertoire, presentation, and arrangement? How is quality output controlled? Which kind of feedback from various participants (audience/ musicians/ organizers) may lead to corrections? The main method is interviewing and surveying. The surveys have to be carefully created and they have to include basic elements about formal and informal music education, peer behavior, and expectations of supervising companies or institutions.
{"title":"Instrumental Ambient Music and Musical Entertainment in Sri Lankan Tourism","authors":"Chinthaka Prageeth Meddegoda","doi":"10.30819/5319.16","DOIUrl":"https://doi.org/10.30819/5319.16","url":null,"abstract":"\u0000 This research explores how instrumental music has been used as ambient music in selected\u0000popular tourist places in Sri Lanka. The domain of the study is confined within the coastal areas\u0000in Western Province where tourism is active at present.\u0000The places of catering, fast food, and various eateries and drinks have facilitated certain ambient\u0000music which is mostly chosen purposefully to attract and to entertain the guests. There must be\u0000a certain joint feature of opinions among food entertainers on matching food taste with\u0000instrumental music. The main purpose of this study is to explore how Sri Lankan food\u0000entertainers facilitate instrumental music to attract and to entertain their guests while consuming\u0000food and other attractions.\u0000Under the given circumstances of fading large scale tourist business, local business is still\u0000flourishing. The choice of entertainment might have been changed. Also, many online\u0000possibilities were created by using ambient music. All these current changes need to be\u0000considered while analysing collected material.\u0000This short-term research is seeking answers to the following questions: How are tourist demands\u0000assessed? Who is involved in decision-making about the repertoire, presentation, and\u0000arrangement? How is quality output controlled? Which kind of feedback from various\u0000participants (audience/ musicians/ organizers) may lead to corrections?\u0000The main method is interviewing and surveying. The surveys have to be carefully created and\u0000they have to include basic elements about formal and informal music education, peer behavior,\u0000and expectations of supervising companies or institutions.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131415488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The main livelihood of Sri Lankan village life is the agricultural industry centered on the rice plant. This culture has incorporated a sub-culture surrounding food sprouting from this as well. Throughout history, the harvest brought home has been consumed in a festive setting. This is most clearly seen in the month of April, with the dawn of the New Year. The banku rabana is a traditional percussion instrument that is 3-4 feet in diameter and is made to represent the sun. Played by four individuals sitting around the rabana this is a custom spread island wide with variations indigenous to regions. This is a qualitative study through which the following aims are discussed. First, a rough outline of the traditional New Year festival and the significance of the banku rabana. Then, the communication methods involving the banku rabana, the different playing styles and related vocal verses as well as their hidden meanings were investigated. Finally, the aspects of food culture brought out through the banku rabana are discussed. Discussions and field observations were carried out as primary sources. Furthermore, experience in the field of Ayurveda medicine and food culture was used as a primary source here. The secondary sources used were studying the relevant texts on the topics relevant to the research. This culture is an Intangible Cultural Heritage of Sri Lanka.
{"title":"Sinhala New Year: The Banku Rabana and its Relationship to Food Culture","authors":"G. S. Palitha","doi":"10.30819/5319.19","DOIUrl":"https://doi.org/10.30819/5319.19","url":null,"abstract":"\u0000 The main livelihood of Sri Lankan village life is the agricultural industry centered on the rice\u0000plant. This culture has incorporated a sub-culture surrounding food sprouting from this as well.\u0000Throughout history, the harvest brought home has been consumed in a festive setting. This is\u0000most clearly seen in the month of April, with the dawn of the New Year. The banku rabana is a\u0000traditional percussion instrument that is 3-4 feet in diameter and is made to represent the sun.\u0000Played by four individuals sitting around the rabana this is a custom spread island wide with\u0000variations indigenous to regions. This is a qualitative study through which the following aims\u0000are discussed. First, a rough outline of the traditional New Year festival and the significance of\u0000the banku rabana. Then, the communication methods involving the banku rabana, the different\u0000playing styles and related vocal verses as well as their hidden meanings were investigated.\u0000Finally, the aspects of food culture brought out through the banku rabana are discussed.\u0000Discussions and field observations were carried out as primary sources. Furthermore, experience\u0000in the field of Ayurveda medicine and food culture was used as a primary source here. The\u0000secondary sources used were studying the relevant texts on the topics relevant to the research.\u0000This culture is an Intangible Cultural Heritage of Sri Lanka.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115109219","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Prized by instrument makers for its tone and resiliency since the early nineteenth century, the African Blackwood tree (Dalbergia melanoxylon), also known as granadilla or mpingo (Swahili), faces an uncertain future. Often overharvested and inefficiently used, African Blackwood has been on the International Union for Conservation of Nature’s “near threatened” red list since 1998 and is categorized by CITES (Convention on International Trade in Endangered Species of Wild Fauna and Flora) in Appendix II, which restricts and controls trade. As instrument manufacturers, makers, and musicians continue to purchase the wood, there is little recognition of the sustainability issues around the tree. Furthermore, many communities that harvest the wood are unaware of the musical nature of the product. The purpose of this presentation is to introduce an interdisciplinary approach to conservation of and education about African Blackwood. Since 2010, Daraja Music Initiative (DMI), a 501(c)3 nonprofit and a Tanzanian NGO, has provided music and conservation education in the Kilimanjaro Region of Tanzania, where mpingo is the national tree. By bridging seemingly divergent disciplines, DMI has raised awareness of sustainability issues both in Tanzania and internationally through the global clarinet community. This presentation will give a brief historical overview of African Blackwood trade, highlight the major conservation issues, and provide information about developing partnerships for increased sustainability in a community setting.
{"title":"Reaching Our Roots: An Interdisciplinary Approach to Promoting Sustainability of the African Blackwood Tree","authors":"K. Palmer","doi":"10.30819/5319.09","DOIUrl":"https://doi.org/10.30819/5319.09","url":null,"abstract":"\u0000 Prized by instrument makers for its tone and resiliency since the early nineteenth century, the\u0000African Blackwood tree (Dalbergia melanoxylon), also known as granadilla or mpingo (Swahili),\u0000faces an uncertain future. Often overharvested and inefficiently used, African Blackwood has\u0000been on the International Union for Conservation of Nature’s “near threatened” red list since 1998\u0000and is categorized by CITES (Convention on International Trade in Endangered Species of Wild\u0000Fauna and Flora) in Appendix II, which restricts and controls trade. As instrument\u0000manufacturers, makers, and musicians continue to purchase the wood, there is little recognition\u0000of the sustainability issues around the tree. Furthermore, many communities that harvest the\u0000wood are unaware of the musical nature of the product.\u0000The purpose of this presentation is to introduce an interdisciplinary approach to conservation of\u0000and education about African Blackwood. Since 2010, Daraja Music Initiative (DMI), a 501(c)3 nonprofit\u0000and a Tanzanian NGO, has provided music and conservation education in the Kilimanjaro\u0000Region of Tanzania, where mpingo is the national tree. By bridging seemingly divergent\u0000disciplines, DMI has raised awareness of sustainability issues both in Tanzania and\u0000internationally through the global clarinet community. This presentation will give a brief\u0000historical overview of African Blackwood trade, highlight the major conservation issues, and\u0000provide information about developing partnerships for increased sustainability in a community\u0000setting.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123533232","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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