In course of researching the teaching of European musical instruments used in the Asian context, we need to remember basic issues. Trombone is an instrument that requires precise command of breath control and oral movement. Various methods of improving these key skills for trombonists have been carefully crafted, such as etudes, method books, and exercises, which greatly benefit trombone students. However, these methods are either difficult to acquire or unavailable in Thailand. Most method books are mainly written in English or for-eign languages, creating a language barrier for Thai trombone students who are not well-versed in these foreign languages. Thus, the practice of teaching oral movement to trombone students is still lacking in Thailand. This results in obstacles for Thai trombonists to play certain classic pieces with a wide range, which requires a high level of both breath control and oral movement. This study aims to (a) create exercises to connect all ranges from low to high register in one breath by incorporating the use of Thai vowels to teach breath control and oral movement to music students who major in trombone in their bachelor degree and (b) determine the efficacy of the exercises. The exercises use the selected section of T-Bone Concerto by Johan de Meij as a case study for pre- and post-tests. The exercises prove to be efficient in increasing the students’ performance. Therefore, the exercises would benefit trombonists of all levels. Furthermore, the Thai vowels concept can also be adapted to be used as exercises for trombone students of all levels of experience and for other brass instruments.
在研究欧洲乐器在亚洲使用的教学过程中，我们需要记住一些基本问题。长号是一种需要精确掌握气息控制和口腔动作的乐器。为了提高长号演奏者的这些关键技能，人们精心设计了各种方法，如练习曲、方法书和练习曲等，使长号学生受益匪浅。然而，这些方法在泰国要么难以获得，要么无法获得。大多数教学法书籍主要是用英语或外语编写的，这给不精通这些外语的泰国长号学生造成了语言障碍。因此，泰国仍然缺乏对长号学生进行口语动作教学的实践。这导致泰国长号演奏家在演奏某些音域宽广的经典曲目时遇到障碍，而这些曲目对气息控制和口部动作的要求都很高。本研究的目的是：(a) 结合泰语元音的使用，为长号专业的本科音乐学生编写练习曲，通过一口气连接从低音域到高音域的所有音域，教授气息控制和口腔动作；(b) 确定练习曲的效果。练习以 Johan de Meij 的《T-Bone 协奏曲》中的选段为案例，进行前后测试。事实证明，练习能有效提高学生的演奏水平。因此，各种水平的长号手都能从中受益。此外，泰语元音的概念也可以改编成练习曲，用于不同水平的长号学生和其他铜管乐器的练习。
{"title":"Tenor Trombone Exercises for Undergraduates and the Use of Thai Vowels","authors":"Suphaprat Santithammarak","doi":"10.30819/aemr.12-2","DOIUrl":"https://doi.org/10.30819/aemr.12-2","url":null,"abstract":"\u0000 In course of researching the teaching of European musical instruments used in the Asian context, we need to remember basic issues. Trombone is an instrument that requires precise command of breath control and oral movement. Various methods of improving these key skills for trombonists have been carefully crafted, such as etudes, method books, and exercises, which greatly benefit trombone students. However, these methods are either difficult to acquire or unavailable in Thailand. Most method books are mainly written in English or for-eign languages, creating a language barrier for Thai trombone students who are not well-versed in these foreign languages. Thus, the practice of teaching oral movement to trombone students is still lacking in Thailand. This results in obstacles for Thai trombonists to play certain classic pieces with a wide range, which requires a high level of both breath control and oral movement. This study aims to (a) create exercises to connect all ranges from low to high register in one breath by incorporating the use of Thai vowels to teach breath control and oral movement to music students who major in trombone in their bachelor degree and (b) determine the efficacy of the exercises. The exercises use the selected section of T-Bone Concerto by Johan de Meij as a case study for pre- and post-tests. The exercises prove to be efficient in increasing the students’ performance. Therefore, the exercises would benefit trombonists of all levels. Furthermore, the Thai vowels concept can also be adapted to be used as exercises for trombone students of all levels of experience and for other brass instruments. \u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"51 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139003719","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 Azerbaijani mugham is a traditional musical form, a pearl of Azerbaijani culture, proclaimed by UNESCO as a masterpiece of oral and intangible heritage of humanity in 2003 and inscribed on the Representative List of Intangible Cultural Heritage of Humanity in 2008. For the Museum of Musical Culture of Azerbaijan, I represent that everything related to mugham (its music and sound recordings, musical instruments, testimonies of mugham performers, and studies of mugham) is of great interest. Of the more than 60,000 items in the museum's collection, the phono archive comprises approximately 3,000 items, of which the earliest audio recordings of mugham from the first decades of the 20th century are an important part. All the witnesses of the mugham’s history are valuable to the public.
{"title":"Azerbaijani Mugham In the Pushkinsky Dom","authors":"Alla Bayramova","doi":"10.30819/aemr.12-1","DOIUrl":"https://doi.org/10.30819/aemr.12-1","url":null,"abstract":"\u0000 The Azerbaijani mugham is a traditional musical form, a pearl of Azerbaijani culture, proclaimed by UNESCO as a masterpiece of oral and intangible heritage of humanity in 2003 and inscribed on the Representative List of Intangible Cultural Heritage of Humanity in 2008. \u0000For the Museum of Musical Culture of Azerbaijan, I represent that everything related to mugham (its music and sound recordings, musical instruments, testimonies of mugham performers, and studies of mugham) is of great interest. Of the more than 60,000 items in the museum's collection, the phono archive comprises approximately 3,000 items, of which the earliest audio recordings of mugham from the first decades of the 20th century are an important part. All the witnesses of the mugham’s history are valuable to the public. \u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"24 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139005142","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}
In this paper, entitled "Musical Instruments in the Cultural Life of the Xơ Đăng Ethnic Group in Quảng Ngãi, Vietnam (Chordophone)," the author conducts an in-depth study of folk musical instruments in the social life of the Cadong people, a sub-ethnic group of the Xơ Đăng ethnic group, who have long settled in the eastern foothills of the Trường Sơn mountain range in the northwest of Quảng Ngãi province, Vietnam. The paper will systematically present issues related to Xơ Đăng’s chordophone, including classification, material, structure, and crafting methods; playing techniques, performance environments, and instrument features; and the system of compositions of the Xơ Đăng’s chordophone (V'roac, Goong, Kaní, and Rauốt). This study was conducted based on the results of the author's survey and fieldwork in the following Xơ Đăng villages: Sơn Bua, Sơn Tân, Sơn Mùa, Sơn Dung (in Sơn Tây district), Trà Kem, and Trà Xinh (in Tây Trà district) in Quảng Ngãi province.
{"title":"Musical Instruments in the Cultural Life of the Xơ Đăng Ethnic Group In Quảng Ngãi","authors":"Nguyen The Truyen","doi":"10.30819/aemr.12-5","DOIUrl":"https://doi.org/10.30819/aemr.12-5","url":null,"abstract":"\u0000 In this paper, entitled \"Musical Instruments in the Cultural Life of the Xơ Đăng Ethnic Group in Quảng Ngãi, Vietnam (Chordophone),\" the author conducts an in-depth study of folk musical instruments in the social life of the Cadong people, a sub-ethnic group of the Xơ Đăng ethnic group, who have long settled in the eastern foothills of the Trường Sơn mountain range in the northwest of Quảng Ngãi province, Vietnam.\u0000The paper will systematically present issues related to Xơ Đăng’s chordophone, including classification, material, structure, and crafting methods; playing techniques, performance environments, and instrument features; and the system of compositions of the Xơ Đăng’s chordophone (V'roac, Goong, Kaní, and Rauốt).\u0000This study was conducted based on the results of the author's survey and fieldwork in the following Xơ Đăng villages: Sơn Bua, Sơn Tân, Sơn Mùa, Sơn Dung (in Sơn Tây district), Trà Kem, and Trà Xinh (in Tây Trà district) in Quảng Ngãi province.\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"109 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139003732","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 second Official Symposium of the ICTM Study Group on Global History of Music was held in Palermo, Sicily, from 7 to 9 June 2023, under the title ‘An entire ocean in a drop of water’: Island Musics, Performance Identities, and Sound Archives. More than fifty scholars and researchers from all over the world came together in eleven sessions and three panels to discuss some of the most relevant topics of our time in the field of ethnomusicological studies, such as the function and value of archives, the musical traditions of the diasporas, and the historical dimension of music in prevalent oral tradition and mentality. The three days of the symposium held in Palermo were marked by an in-depth examination of cross-cutting themes, to which scholars from seventeen different countries contributed, including Russia, Italy, Azerbaijan, Canada, Germany, Austria, Portugal, Argentina, Kazakhstan, the Netherlands, Ireland, China, the United States, Albania, Kyrgyzstan, the United Kingdom, and Malaysia. Some participants delivered their papers through online presentations, while most of them gathered to share the results of their latest research.
{"title":"The 2nd Symposium of the ICTM Study Group on ‘Global Music History’ in Palermo, Sicily","authors":"Giuseppe Sanfratello","doi":"10.30819/aemr.12-11","DOIUrl":"https://doi.org/10.30819/aemr.12-11","url":null,"abstract":"\u0000 The second Official Symposium of the ICTM Study Group on Global History of Music was held in Palermo, Sicily, from 7 to 9 June 2023, under the title ‘An entire ocean in a drop of water’: Island Musics, Performance Identities, and Sound Archives. More than fifty scholars and researchers from all over the world came together in eleven sessions and three panels to discuss some of the most relevant topics of our time in the field of ethnomusicological studies, such as the function and value of archives, the musical traditions of the diasporas, and the historical dimension of music in prevalent oral tradition and mentality. The three days of the symposium held in Palermo were marked by an in-depth examination of cross-cutting themes, to which scholars from seventeen different countries contributed, including Russia, Italy, Azerbaijan, Canada, Germany, Austria, Portugal, Argentina, Kazakhstan, the Netherlands, Ireland, China, the United States, Albania, Kyrgyzstan, the United Kingdom, and Malaysia. Some participants delivered their papers through online presentations, while most of them gathered to share the results of their latest research.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"12 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139005581","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 study focuses on a contemporary art work called Mediasi Ukiran – Tenunan VIII for String Quartet composed by Tazul Izan Tajuddin. The researcher highlights the concept of Islamic art, technique in the content, technique in the form, and the meaning of an ‘arabesque’. Compositional techniques were discussed in terms of: (1) pattern-based technique; (2) weaving as the concept of combining pitch and rhythm; and (3) a non-pitch-based concept of sound. The discussion includes the concept of geometrical design, which is reflected in the compositional structure. TTazul J.he weaving concept used in the music piece regards pitch and rhythm, and the concept of sound integrates pitches and non-pitches in the work. There are two main sources of contemporary art music in this study, which are Indo-Malay in ethnic essence and Islamic architectural and geometrical art. Mediasi Ukiran – Tenunan VIII is written for classical instruments, namely for a string quartet, though the concept of sound, composition, or better, the organization of materials, and the notation are made from combinations of some Eastern and Western ideas jointly creating a rather rarely appearing effect.
本研究的重点是塔祖尔-伊赞-塔朱丁（Tazul Izan Tajuddin）为弦乐四重奏创作的当代艺术作品《Mediasi Ukiran - Tenunan VIII》。研究者强调了伊斯兰艺术的概念、内容中的技巧、形式中的技巧以及 "阿拉伯式 "的含义。研究人员从以下几个方面讨论了创作技巧：(1) 以图案为基础的技巧；(2) 将音高与节奏相结合的编织概念；(3) 非音高的声音概念。讨论包括几何设计概念，这在作曲结构中有所体现。TTazul J.he weaving concept used in the music piece regards pitch and rhythm, and the concept of sound integrates pitches and non pitches in the work.本研究中的当代艺术音乐有两个主要来源，一是民族本质上的印度-马来音乐，二是伊斯兰建筑和几何艺术。Mediasi Ukiran - Tenunan VIII》是为古典乐器（即弦乐四重奏）而作，但其声音概念、作曲，或者更确切地说，材料的组织和记谱法是由一些东方和西方的理念组合而成，共同创造出一种相当罕见的效果。
{"title":"Compositional Techniques of Mediasi Ukiran – Tenunan VIII For String Quartet: A Study of Arabesque IV","authors":"Md Jais bin Ismail, T. Tajuddin","doi":"10.30819/aemr.12-4","DOIUrl":"https://doi.org/10.30819/aemr.12-4","url":null,"abstract":"\u0000 This study focuses on a contemporary art work called Mediasi Ukiran – Tenunan VIII for String Quartet composed by Tazul Izan Tajuddin. The researcher highlights the concept of Islamic art, technique in the content, technique in the form, and the meaning of an ‘arabesque’. Compositional techniques were discussed in terms of: (1) pattern-based technique; (2) weaving as the concept of combining pitch and rhythm; and (3) a non-pitch-based concept of sound. The discussion includes the concept of geometrical design, which is reflected in the compositional structure. TTazul J.he weaving concept used in the music piece regards pitch and rhythm, and the concept of sound integrates pitches and non-pitches in the work. There are two main sources of contemporary art music in this study, which are Indo-Malay in ethnic essence and Islamic architectural and geometrical art. Mediasi Ukiran – Tenunan VIII is written for classical instruments, namely for a string quartet, though the concept of sound, composition, or better, the organization of materials, and the notation are made from combinations of some Eastern and Western ideas jointly creating a rather rarely appearing effect.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"264 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139005826","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 essay reviews Thomas Irvine’s 2021 book “Listening to China: Sound and the Sino-Western Encounter, 1770–1839”. The author highlights the central tenets of Irvine’s work (published by the University of Chicago Press), and considers its implications for histories of Sino-Western cultural exchange more broadly.
{"title":"Review of Thomas Irvine. 2021. Listening to China: Sound and the Sino-Western Encounter, 1770–1839 (Chicago: University of Chicago Press)","authors":"Samuel Cheney","doi":"10.30819/aemr.12-10","DOIUrl":"https://doi.org/10.30819/aemr.12-10","url":null,"abstract":"\u0000 This essay reviews Thomas Irvine’s 2021 book “Listening to China: Sound and the Sino-Western Encounter, 1770–1839”. The author highlights the central tenets of Irvine’s work (published by the University of Chicago Press), and considers its implications for histories of Sino-Western cultural exchange more broadly.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"15 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139004910","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 enthusiastic and ardent fandom of Korean Pop Music is contagious and at its peak. People all around the world, despite the racial, geographical, and cultural differences, follow the various musical bands, and researchers have recently found fascinating associations between K-Pop Fanship and psychosocial benefits. This quantitative correlational study aims to be topical and intends to explore the relationship of K-Pop Fanship with self-esteem and social connectedness as psychosocial benefits. It was hypothesized that K-Pop Fanship will be positively correlated with self-esteem and social connectedness, and the level of Fanship in 12- to 20-year-old fans will be higher than in 20- to 28+-year-olds. A total of 599 individuals from various continents of the world, through volunteer sampling, participated in and completed a comprehensive online survey that measured the K-Pop Fanship, self-esteem, and social connectedness of each participant. The results indicated weak and insignificant correlations between the variables, and there was no difference found in the level of Fanship among the fans. The negative impact of unrealistic beauty standards, excessive idolization of the artists, and a globally higher ratio of female fans could provide an explanation for the findings. However, a significant positive and moderate association was found between self-esteem and social connectedness. It is plausible that K-Pop Fanship served as a moderating variable in the study between the other two variables. Therefore, the interesting inferences of the study stress the need to conduct further studies, both causal and correlational, to unveil other variables that are either caused by or related to K-Pop Fanship. Limitations, suggestions, and implications are also discussed.
{"title":"K-Pop Fanship and Fandom: Relationship with Self-Esteem and Social Connectedness as Psychosocial Benefits","authors":"Bukhari Azka, Firdous Maryum, Ali Kainaat E.","doi":"10.30819/aemr.12-8","DOIUrl":"https://doi.org/10.30819/aemr.12-8","url":null,"abstract":"\u0000 The enthusiastic and ardent fandom of Korean Pop Music is contagious and at its peak. People all around the world, despite the racial, geographical, and cultural differences, follow the various musical bands, and researchers have recently found fascinating associations between K-Pop Fanship and psychosocial benefits. This quantitative correlational study aims to be topical and intends to explore the relationship of K-Pop Fanship with self-esteem and social connectedness as psychosocial benefits. It was hypothesized that K-Pop Fanship will be positively correlated with self-esteem and social connectedness, and the level of Fanship in 12- to 20-year-old fans will be higher than in 20- to 28+-year-olds. A total of 599 individuals from various continents of the world, through volunteer sampling, participated in and completed a comprehensive online survey that measured the K-Pop Fanship, self-esteem, and social connectedness of each participant. The results indicated weak and insignificant correlations between the variables, and there was no difference found in the level of Fanship among the fans. The negative impact of unrealistic beauty standards, excessive idolization of the artists, and a globally higher ratio of female fans could provide an explanation for the findings. However, a significant positive and moderate association was found between self-esteem and social connectedness. It is plausible that K-Pop Fanship served as a moderating variable in the study between the other two variables. Therefore, the interesting inferences of the study stress the need to conduct further studies, both causal and correlational, to unveil other variables that are either caused by or related to K-Pop Fanship. Limitations, suggestions, and implications are also discussed. \u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"3 S3A","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139004223","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 purpose of the research is to theoretically develop methods of characterisation and attribution of the style of arranging a pop-vocal composition. Based on the task of identifying active means of music expression, the most suitable methods for determining the characteristic features of style were used; the specific features of form, textural, temporithmic, timbre, melodic-thematic, and ladoharmonic organisation of the musical material of arrangement were analysed. As a result, the algorithm of analytical actions in the process of hearing expertise on the specific features of the musical language of arrangement is aimed at identifying the genesis of the stylistic profile of pop-vocal composition, which usually has features of genre-style synthesis of different areas of popular, jazz, folk, or academic music. In this regard, the parameters of temporithm and phonism are defined as basic criteria for recognising the stylistic dominant of the instrumental component of the song genre. The scientific apparatus of stylistic analysis methods, along with conventional musicological research methods, were used, as well as definitions of constant and aconstant types of the sound image of arrangement as operational criteria of stylistic differentiation of recyclic and through-dramaturgical principles of development of the sound idea of pop-vocal composition. During the comparative hearing analysis of the sound recordings of the famous Ukrainian song «I will go to distant mountains» in the original author's performance of Volodymyr Ivasyuk and its cover version performed by Kvitka Cisyk and arranged by Jack Cortner, the method of comparative stylistic characteristics of arrangements was carried out on the principle of contrasting comparisons or comparisons on the similarity of creative methods of instrumentation, formation, tempo-rithmic, melodic-thematic, and ladotonal organisation of musical material of instrumental accompaniments. The result of the study was the systematisation of the procedure of stylistic attribution of cover versions arrangements of works of popular song genres. The conclusions substantiate the need to consider the criteria of musical novelty and aesthetic value in evaluating the results of stylistic rethinking by the arranger of the original song musical text, which in the new version can appear as a unique, individualised concept that has actual artistic importance for modern listening audiences.
{"title":"Methodical Aspects of Stylistic Attribution Arrangement of Pop-Vocal Composition","authors":"Stepan Giga, L. Oparyk","doi":"10.30819/aemr.12-7","DOIUrl":"https://doi.org/10.30819/aemr.12-7","url":null,"abstract":"\u0000 The purpose of the research is to theoretically develop methods of characterisation and attribution of the style of arranging a pop-vocal composition. Based on the task of identifying active means of music expression, the most suitable methods for determining the characteristic features of style were used; the specific features of form, textural, temporithmic, timbre, melodic-thematic, and ladoharmonic organisation of the musical material of arrangement were analysed. As a result, the algorithm of analytical actions in the process of hearing expertise on the specific features of the musical language of arrangement is aimed at identifying the genesis of the stylistic profile of pop-vocal composition, which usually has features of genre-style synthesis of different areas of popular, jazz, folk, or academic music. In this regard, the parameters of temporithm and phonism are defined as basic criteria for recognising the stylistic dominant of the instrumental component of the song genre. The scientific apparatus of stylistic analysis methods, along with conventional musicological research methods, were used, as well as definitions of constant and aconstant types of the sound image of arrangement as operational criteria of stylistic differentiation of recyclic and through-dramaturgical principles of development of the sound idea of pop-vocal composition. During the comparative hearing analysis of the sound recordings of the famous Ukrainian song «I will go to distant mountains» in the original author's performance of Volodymyr Ivasyuk and its cover version performed by Kvitka Cisyk and arranged by Jack Cortner, the method of comparative stylistic characteristics of arrangements was carried out on the principle of contrasting comparisons or comparisons on the similarity of creative methods of instrumentation, formation, tempo-rithmic, melodic-thematic, and ladotonal organisation of musical material of instrumental accompaniments. The result of the study was the systematisation of the procedure of stylistic attribution of cover versions arrangements of works of popular song genres. The conclusions substantiate the need to consider the criteria of musical novelty and aesthetic value in evaluating the results of stylistic rethinking by the arranger of the original song musical text, which in the new version can appear as a unique, individualised concept that has actual artistic importance for modern listening audiences.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"14 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139004914","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}
Colonialization by the Dutch in Java (Indonesia) brought a dream for the natives so that traditional gamelan music could be positioned on par with European classical music. The natives (colonized) view Western classical music as having the highest peak of aesthetic achievement because it is written, formal, successfully formulated, calculated (metronomic), and relies on logic. Meanwhile, gamelan music, on the other hand, develops informally, unwritten, and undefined and depends on the deepest feelings of the musicians. Efforts to equate gamelan with Western music are full of political interests so that Indonesia is not colonized through its culture. The culmination was establishing a formal gamelan school (imitating a similar style of music school in Europe). However, this brought another problem, and the gamelan school resulted in gamelan music having to be written, formulated, calculated, and formalized. This has changed the aesthetics and character of European-style gamelan music, from the felt piece (felt time) to the logical piece (clock time). As a result, in gamelan music, "academic art" was born with a neat, complex impression and supposedly modern characteristics. This study uses a historical approach to read past events as data that are woven and interpreted in the present. This historical approach is combined with an ethnomusicological approach to see how music is contextualized with cultural polemics, political intrigue, and means of resistance to colonialism. The result is that critical notes regarding the efforts to Europeanize gamelan music have left many problems until now.
{"title":"Colonialism and Nationalism in Traditional Javanese Gamelan Music: Changing Musical Aesthetics","authors":"Aris Setiawan","doi":"10.30819/aemr.12-3","DOIUrl":"https://doi.org/10.30819/aemr.12-3","url":null,"abstract":"\u0000 Colonialization by the Dutch in Java (Indonesia) brought a dream for the natives so that traditional gamelan music could be positioned on par with European classical music. The natives (colonized) view Western classical music as having the highest peak of aesthetic achievement because it is written, formal, successfully formulated, calculated (metronomic), and relies on logic. Meanwhile, gamelan music, on the other hand, develops informally, unwritten, and undefined and depends on the deepest feelings of the musicians. Efforts to equate gamelan with Western music are full of political interests so that Indonesia is not colonized through its culture. The culmination was establishing a formal gamelan school (imitating a similar style of music school in Europe). However, this brought another problem, and the gamelan school resulted in gamelan music having to be written, formulated, calculated, and formalized. This has changed the aesthetics and character of European-style gamelan music, from the felt piece (felt time) to the logical piece (clock time). As a result, in gamelan music, \"academic art\" was born with a neat, complex impression and supposedly modern characteristics. This study uses a historical approach to read past events as data that are woven and interpreted in the present. This historical approach is combined with an ethnomusicological approach to see how music is contextualized with cultural polemics, political intrigue, and means of resistance to colonialism. The result is that critical notes regarding the efforts to Europeanize gamelan music have left many problems until now.\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"9 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139003871","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}
Egyptian radio broadcasting has always been strictly controlled by the government since the 1920s. Composed of two sections, this essay aims to explore the multi-dimensional radio soundscape in Egypt and how radio and loudspeakers have been used by the government to serve political goals in both religious and secular activities. The first section centres on Umm Kulthum and how she took advantage of the burgeoning radio to spread her fame and reach out to the mass audience in the Arab world. I also examine how the Egyptian government utilised radio to achieve its political goal of pan-Arabism. The second section discusses the usage of radio and loudspeakers for religious activities, including the Qur’anic recitation and the “call to prayer.” I analyse how governmental control of radio technology affected daily religious events and people’s social identities.
{"title":"Multi-dimensional Soundscape of Radio in Egypt","authors":"Zeng Diandian","doi":"10.30819/aemr.12-9","DOIUrl":"https://doi.org/10.30819/aemr.12-9","url":null,"abstract":"\u0000 Egyptian radio broadcasting has always been strictly controlled by the government since the 1920s. Composed of two sections, this essay aims to explore the multi-dimensional radio soundscape in Egypt and how radio and loudspeakers have been used by the government to serve political goals in both religious and secular activities. The first section centres on Umm Kulthum and how she took advantage of the burgeoning radio to spread her fame and reach out to the mass audience in the Arab world. I also examine how the Egyptian government utilised radio to achieve its political goal of pan-Arabism. The second section discusses the usage of radio and loudspeakers for religious activities, including the Qur’anic recitation and the “call to prayer.” I analyse how governmental control of radio technology affected daily religious events and people’s social identities.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"68 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138976409","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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