This study presents a very small community within the Sinhalese context of Sri Lanka in light of academic interest: the Kaffirs. Their communal history reaches far back into colonial times, and they did not distinguish clearly from which territories in Africa these Kaffirs, an expression introduced by Portuguese rulers for slaves and servants brought to Sri Lanka from African shores, came and how they identify. Currently, Kaffirs are seen through the gaze of public writings and common biases. They are believed to have their performance styles and their strong association with the drum, dance, and vocal genres integrated into the canon of Sinhalese traditions. One specific vocal expression is the singing of manja songs, which are introduced and roughly analysed in this short paper. Manja songs are not so widely known to all people living in Sri Lanka. A specific study of these songs has not yet taken place. The main methods used are microanalysis, literature studies, and open interviews with those who are connected to Kaffirs, either as members of the group or as people related to their studies and performing arts. Beyond presenting the exciting text repertoire, it is to connect the musical skills that come with this way of singing with related arts such as dancing and drumming. The Kaffirs’ performance potentials are widely underestimated, as many Kaffirs have integrated, through marriage and social subordination, into the current society. Yet, it is important to focus on the snippets in the history of developing performance skills and their relatedness to another continent in order to help understand global issues and their future.
{"title":"The Musical Representation of Sri Lankan Kaffirs","authors":"Geethika Abeyesekara, Chinthaka Prageeth Meddegoda","doi":"10.30819/aemr.12-6","DOIUrl":"https://doi.org/10.30819/aemr.12-6","url":null,"abstract":"\u0000 This study presents a very small community within the Sinhalese context of Sri Lanka in light of academic interest: the Kaffirs. Their communal history reaches far back into colonial times, and they did not distinguish clearly from which territories in Africa these Kaffirs, an expression introduced by Portuguese rulers for slaves and servants brought to Sri Lanka from African shores, came and how they identify. Currently, Kaffirs are seen through the gaze of public writings and common biases. They are believed to have their performance styles and their strong association with the drum, dance, and vocal genres integrated into the canon of Sinhalese traditions. \u0000One specific vocal expression is the singing of manja songs, which are introduced and roughly analysed in this short paper. Manja songs are not so widely known to all people living in Sri Lanka. A specific study of these songs has not yet taken place. The main methods used are microanalysis, literature studies, and open interviews with those who are connected to Kaffirs, either as members of the group or as people related to their studies and performing arts. Beyond presenting the exciting text repertoire, it is to connect the musical skills that come with this way of singing with related arts such as dancing and drumming. The Kaffirs’ performance potentials are widely underestimated, as many Kaffirs have integrated, through marriage and social subordination, into the current society. Yet, it is important to focus on the snippets in the history of developing performance skills and their relatedness to another continent in order to help understand global issues and their future.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"69 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139004633","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 contrast to the idea that the modernization of playing styles has unleashed the expressive potential of the pipa, this article suggests, through the individual case study of Wu Man, that traditional styles are essential to the numerous successful premieres of pipa concertos globally. It offers the experiences of diasporic pipa player Wu Man as an insider’s viewpoint, arguing that the demonstration and emphasis of traditional pipa playing techniques and styles are important to a successful contemporary performance. This article is the first to disclose Wu Man’s experience in how she applies traditional pipa music to the numerous successful premieres of pipa concertos, framing the pipa concerto as just one example of a much wider trend in the musical worldthat of the commissioning and performance of new music for cross-cultural instrumental groups. There are two essential elements to the upkeep of traditional pipa playing: one lies with the composer’s understanding of pipa music in their newly composed pieces and the other lies with the pipa player’s abilities (their mastery of playing techniques, broader experience in various traditional music genres, creativity, and taking on a leading role in playing). Thus, in this article, I will analyze these elements to reveal how a globally successful pipa musician has interpreted and translated the traditional aspects of pipa music in a global world.
{"title":"Wu Man, the Pipa and Chinese Tradition in a Contemporary Global Context?","authors":"Ma Ming-hui","doi":"10.30819/aemr.11-2","DOIUrl":"https://doi.org/10.30819/aemr.11-2","url":null,"abstract":"\u0000 In contrast to the idea that the modernization of playing styles has unleashed the expressive potential of the pipa,\u0000this article suggests, through the individual case study of Wu Man, that traditional styles are essential to the\u0000numerous successful premieres of pipa concertos globally. It offers the experiences of diasporic pipa player Wu\u0000Man as an insider’s viewpoint, arguing that the demonstration and emphasis of traditional pipa playing techniques\u0000and styles are important to a successful contemporary performance. This article is the first to disclose Wu Man’s\u0000experience in how she applies traditional pipa music to the numerous successful premieres of pipa concertos,\u0000framing the pipa concerto as just one example of a much wider trend in the musical worldthat of the\u0000commissioning and performance of new music for cross-cultural instrumental groups. There are two essential\u0000elements to the upkeep of traditional pipa playing: one lies with the composer’s understanding of pipa music in\u0000their newly composed pieces and the other lies with the pipa player’s abilities (their mastery of playing techniques,\u0000broader experience in various traditional music genres, creativity, and taking on a leading role in playing). Thus,\u0000in this article, I will analyze these elements to reveal how a globally successful pipa musician has interpreted and\u0000translated the traditional aspects of pipa music in a global world.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"351 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82595306","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 present review focuses on the vision, philosophy, and methodology of C. de S. Kulatillake’s exemplary contribution to the subject. The methodology of this study is based on a qualitative approach narrative method, and information was collected through interviews, records, autobiographies, and various reports and books written by Kulatillake. Seven in-depth semistructured interviews were carried out at the University of the Visual and Performing Arts, Colombo 07, Sri Lanka, in September and November 2022. The participants were senior academic members and a scientific officer at C. de S. Kulatillake Research Centre. As a sampling method, nonprobability purposive sampling was used. The data were evaluated using content analysis. Kulatillake has always approached folk music from a scientific standpoint, linking it to ethnomusicology. He discovered 36 indigenous singing styles unique to Sri Lanka. According to Kulatillake, the Sri Lankan double-read instrument horanewa is a West Asian migrant. The individuality of Sinhala drum music, its peculiar rhythms that do not match the Indian “tal” systems, and Sinhala drum music is an incredibly remarkable performance style incomplete sentence. He discovered that the strange aspect of the visama nadi (irregular pulse) movement in Sri Lankan drum music is a unique style and should be accepted as a great feature inherited from the folk music of this country. Kulatillake traced cultural identity and pride; documented, taught, and presented it to national and international audiences; and preserved it for future generations, according to the study. A separate study focusing on trailblazers who used music education as a safeguarding measure would be a worthwhile investigation that would both enrich and broaden the findings of this study.
目前的评论集中在C. de . S. Kulatillake对这一主题的典型贡献的愿景、哲学和方法论上。本研究的方法论采用定性叙事法，通过访谈、记录、自传以及库拉提勒克撰写的各种报告和书籍收集信息。我们于2022年9月和11月在斯里兰卡科伦坡的视觉和表演艺术大学进行了七次深度半结构化访谈。与会者是C. de S. Kulatillake研究中心的高级学术成员和一名科学官员。作为一种抽样方法，我们采用了非概率目的抽样。使用内容分析对数据进行评估。Kulatillake一直从科学的角度来看待民间音乐，并将其与民族音乐学联系起来。他发现了36种斯里兰卡特有的本土演唱风格。根据Kulatillake的说法，斯里兰卡的双读乐器是一名西亚移民。僧伽罗鼓乐的个性，其独特的节奏与印度的“tal”系统不匹配，以及僧伽罗鼓乐是一种令人难以置信的非凡的表演风格。他发现，斯里兰卡鼓乐中不规则节奏的奇怪之处是一种独特的风格，应该被视为继承自这个国家民间音乐的一大特色。Kulatillake追溯了文化认同和自豪感;记录、教授并向国内和国际观众展示;根据这项研究，并为后代保存了它。另一项针对将音乐教育作为保护措施的开拓者的独立研究将是一项有价值的调查，它将丰富和拓宽本研究的发现。
{"title":"Keeping the Tradition Alive: Analysing the Work of C. De S. Kulatillake","authors":"K. Samarasinghe","doi":"10.30819/aemr.11-3","DOIUrl":"https://doi.org/10.30819/aemr.11-3","url":null,"abstract":"\u0000 The present review focuses on the vision, philosophy, and methodology of C. de S. Kulatillake’s exemplary\u0000contribution to the subject. The methodology of this study is based on a qualitative approach narrative method,\u0000and information was collected through interviews, records, autobiographies, and various reports and books\u0000written by Kulatillake. Seven in-depth semistructured interviews were carried out at the University of the Visual\u0000and Performing Arts, Colombo 07, Sri Lanka, in September and November 2022. The participants were senior\u0000academic members and a scientific officer at C. de S. Kulatillake Research Centre. As a sampling method,\u0000nonprobability purposive sampling was used. The data were evaluated using content analysis. Kulatillake has\u0000always approached folk music from a scientific standpoint, linking it to ethnomusicology. He discovered 36\u0000indigenous singing styles unique to Sri Lanka. According to Kulatillake, the Sri Lankan double-read instrument\u0000horanewa is a West Asian migrant. The individuality of Sinhala drum music, its peculiar rhythms that do not\u0000match the Indian “tal” systems, and Sinhala drum music is an incredibly remarkable performance style\u0000incomplete sentence. He discovered that the strange aspect of the visama nadi (irregular pulse) movement in Sri\u0000Lankan drum music is a unique style and should be accepted as a great feature inherited from the folk music of\u0000this country. Kulatillake traced cultural identity and pride; documented, taught, and presented it to national and\u0000international audiences; and preserved it for future generations, according to the study. A separate study focusing\u0000on trailblazers who used music education as a safeguarding measure would be a worthwhile investigation that\u0000would both enrich and broaden the findings of this study.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88434160","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}
One aspect of the work that the missionaries did in China that has received little attention is the teaching of the blind to read, in particular to read music. Amy Wilkinson is particularly interesting because in 1922, she brought her Chinese Blind Boys Band to England and they toured all over the country giving concerts. The concerts were widely reported in the local press, and so we have quite detailed positive accounts of how well the band played. Any scepticism about what the standard of performance might have been like can be quelled by reading these accounts. What this book attempts to do is understand how these early pioneers developed systems to enable the blind Chinese to read in Chinese, with first the use of embossed letters and then Braille. They then went on to teach music notation with embossed systems and then later Braille music notation. There are considerable technical difficulties for blind people to read Braille music notation, and these must have been made more challenging teaching blind Chinese boys Western instruments and music that required an understanding of Western harmony and rhythm. Amy Wilkinson’s achievements in this field deserve wider recognition than they have so far received.
{"title":"Amy Wilkinson and the Chinese Blind Boys Band","authors":"Keith Robinson, Wang Lingli","doi":"10.30819/aemr.11-6","DOIUrl":"https://doi.org/10.30819/aemr.11-6","url":null,"abstract":"\u0000 One aspect of the work that the missionaries did in China that has received little attention is the teaching of the\u0000blind to read, in particular to read music. Amy Wilkinson is particularly interesting because in 1922, she brought\u0000her Chinese Blind Boys Band to England and they toured all over the country giving concerts. The concerts were\u0000widely reported in the local press, and so we have quite detailed positive accounts of how well the band played.\u0000Any scepticism about what the standard of performance might have been like can be quelled by reading these\u0000accounts. What this book attempts to do is understand how these early pioneers developed systems to enable the\u0000blind Chinese to read in Chinese, with first the use of embossed letters and then Braille. They then went on to\u0000teach music notation with embossed systems and then later Braille music notation. There are considerable technical\u0000difficulties for blind people to read Braille music notation, and these must have been made more challenging\u0000teaching blind Chinese boys Western instruments and music that required an understanding of Western harmony\u0000and rhythm. Amy Wilkinson’s achievements in this field deserve wider recognition than they have so far received.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73301887","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 research concerns the relationship between Western classical music and Arabian cultures in the United Arab Emirates (UAE) as experienced by independent classical chamber musicians. The main research question was: what stories do independent Western classical chamber musicians tell about their lived experiences of practicing and performing Western classical music in the UAE? The real-life problem guiding this research has two parts: i. the problem that Western classical music is not a sustainable profession for performers in the UAE and ii. the gap in the literature on Western classical music in the UAE. The real-life problem the first author experienced in the UAE as a Western musician had the following challenges: practical obstacles related to sourcing fellow musicians who uphold the same standards and music ideals, finding rehearsal venues and creating performance opportunities. These challenges lead to the formation of the research problem.
{"title":"The Lived Experiences of Independent Western Classical Chamber Musicians in the United Arab Emirates: A Narrative Inquiry","authors":"Mia Martens, C. Wentink","doi":"10.30819/aemr.11-5","DOIUrl":"https://doi.org/10.30819/aemr.11-5","url":null,"abstract":"\u0000 The research concerns the relationship between Western classical music and Arabian cultures in the United Arab\u0000Emirates (UAE) as experienced by independent classical chamber musicians. The main research question was:\u0000what stories do independent Western classical chamber musicians tell about their lived experiences of practicing\u0000and performing Western classical music in the UAE?\u0000The real-life problem guiding this research has two parts:\u0000i. the problem that Western classical music is not a sustainable profession for performers in the UAE and\u0000ii. the gap in the literature on Western classical music in the UAE.\u0000The real-life problem the first author experienced in the UAE as a Western musician had the following challenges:\u0000practical obstacles related to sourcing fellow musicians who uphold the same standards and music ideals, finding\u0000rehearsal venues and creating performance opportunities. These challenges lead to the formation of the research\u0000problem.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88791261","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 article examines parts of the oral literature and music of Bushehr, a port city in southern Iran. There is a song in Bushehr's music that uses words like helleh (heːlle̞) and heliosa (heːlijosa), that have no meaning for the people of Bushehr. This paper suggests that the origin of these words goes back to Greek mythology and that they are the remains of hymns or spells recited in praise of Helios and other ancient gods. To this end, in addition to qualitative and field research, extensive historical studies were carried out, focusing on the Hellenistic period after the conquest of Iran by Alexander the Great. I suggest that although the evolution of music in Bushehr was influenced by the military domination of Greece through acculturation, the cultural background of Bushehr was not ineffective in accepting this. As a result, assimilation occurred, and some mythical elements of Greece were localised in Bushehr.
{"title":"Traces of Greek Mythology in the Folk Music and Oral Literature of Bushehr","authors":"Seyed Mohammadreza Beladi Beladi","doi":"10.30819/aemr.11-4","DOIUrl":"https://doi.org/10.30819/aemr.11-4","url":null,"abstract":"\u0000 This article examines parts of the oral literature and music of Bushehr, a port city in southern Iran. There is a song\u0000in Bushehr's music that uses words like helleh (heːlle̞) and heliosa (heːlijosa), that have no meaning for the people\u0000of Bushehr. This paper suggests that the origin of these words goes back to Greek mythology and that they are the\u0000remains of hymns or spells recited in praise of Helios and other ancient gods. To this end, in addition to qualitative\u0000and field research, extensive historical studies were carried out, focusing on the Hellenistic period after the\u0000conquest of Iran by Alexander the Great. I suggest that although the evolution of music in Bushehr was influenced\u0000by the military domination of Greece through acculturation, the cultural background of Bushehr was not ineffective\u0000in accepting this. As a result, assimilation occurred, and some mythical elements of Greece were localised in\u0000Bushehr.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"196 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72892852","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 short review essay is dedicated to the 24th Symposium of the ICTM Study Group on Musical Instruments. This symposium took place from March 29 to April 1, 2023. It was hosted by the Music Faculty of the University of the Visual and Performing Arts, Colombo, in Sri Lanka.
{"title":"Review Essay of the 24th Symposium of the ICTM Study Group on Musical Instruments","authors":"Lin Zhi","doi":"10.30819/aemr.11-9","DOIUrl":"https://doi.org/10.30819/aemr.11-9","url":null,"abstract":"\u0000 This short review essay is dedicated to the 24th Symposium of the ICTM Study Group on Musical Instruments.\u0000This symposium took place from March 29 to April 1, 2023. It was hosted by the Music Faculty of the University\u0000of the Visual and Performing Arts, Colombo, in Sri Lanka.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"140 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75377381","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 is a review on a fieldwork undertaken among the Nymang ethnic community residing on the legendary Nuba Mountains of southern Kordofan, Sudan, in 2005. It is a result of participatory observation, and the view taken on it is retrospective. The author was able to study the social and cultural life, rituals, taboos, musical traditions, and many more, which are discussed in detail in a later book, thanks to her Sudanese hosts. The description carried out in the writing reflects personal perspectives as a human being, a woman, and a complete stranger entering an unknown and distant world. Indeed, it must have been one of the best experiences the author had in her nearly 3 decades of scholarly experience.
{"title":"A Short Fieldwork Report on the Nuba Mountains","authors":"Timkehet Teffera Mekonnen","doi":"10.30819/aemr.11-10","DOIUrl":"https://doi.org/10.30819/aemr.11-10","url":null,"abstract":"\u0000 This is a review on a fieldwork undertaken among the Nymang ethnic community residing on the legendary Nuba\u0000Mountains of southern Kordofan, Sudan, in 2005. It is a result of participatory observation, and the view taken on\u0000it is retrospective. The author was able to study the social and cultural life, rituals, taboos, musical traditions, and\u0000many more, which are discussed in detail in a later book, thanks to her Sudanese hosts. The description carried\u0000out in the writing reflects personal perspectives as a human being, a woman, and a complete stranger entering an\u0000unknown and distant world. Indeed, it must have been one of the best experiences the author had in her nearly 3\u0000decades of scholarly experience.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"188 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75581536","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 incorporation of Hinduism and Buddhism in Indonesia has given a unique characteristic to the Indonesian cultural reality. Since the Kalinga–Bali Yatra (from 320 BC to the establishment of Kalinga kingdom in Central Java around 500 AD), that is, the yearly ancient naval expedition of sailors from Orissa (Kalinga in India) to the Swarnadwipa Islands (Malacca, Sumatera, Java, Borneo, and Bali), the culture of Hinduism and Buddhism has been slowly introduced and acknowledged by the people of Indonesia. The earliest interaction between Hinduism/Buddhism and the locals could be tracked since the period of Kalinga kingdom in the central part of Java island. The influence of Hinduism and Buddhism in Indonesian traditional culture has penetrated to the people’s musical tradition in Java and Bali. On top of that, the story of Ramayana and Mahabharata has been adopted into Wayang Kulit tradition in Java. Among other Hindu–Buddhist influences in Indonesia comprise Indian drama– dance, Rasa esthetic theory, Mahayana Buddhist influence in Bedoyo, Slendro pathet (Javanese gamelan musical organization system), and Hinayana Buddhist concept of removal of nine consciousness of human beings.
{"title":"The Impact of Hinduism and Buddhism on the Music of Indonesia","authors":"Sunarto","doi":"10.30819/aemr.11-1","DOIUrl":"https://doi.org/10.30819/aemr.11-1","url":null,"abstract":"\u0000 The incorporation of Hinduism and Buddhism in Indonesia has given a unique characteristic to the Indonesian\u0000cultural reality. Since the Kalinga–Bali Yatra (from 320 BC to the establishment of Kalinga kingdom in Central\u0000Java around 500 AD), that is, the yearly ancient naval expedition of sailors from Orissa (Kalinga in India) to the\u0000Swarnadwipa Islands (Malacca, Sumatera, Java, Borneo, and Bali), the culture of Hinduism and Buddhism has\u0000been slowly introduced and acknowledged by the people of Indonesia. The earliest interaction between\u0000Hinduism/Buddhism and the locals could be tracked since the period of Kalinga kingdom in the central part of Java\u0000island. The influence of Hinduism and Buddhism in Indonesian traditional culture has penetrated to the people’s\u0000musical tradition in Java and Bali. On top of that, the story of Ramayana and Mahabharata has been adopted into\u0000Wayang Kulit tradition in Java. Among other Hindu–Buddhist influences in Indonesia comprise Indian drama–\u0000dance, Rasa esthetic theory, Mahayana Buddhist influence in Bedoyo, Slendro pathet (Javanese gamelan musical\u0000organization system), and Hinayana Buddhist concept of removal of nine consciousness of human beings.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90588886","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}
Media has been pivotal in preservation of art for ages. The traditions and cultures have been travelling across generations via media through centuries. And as the media experienced technological advancement, it became more potent and started playing even more crucial role. The ability of the media contents to reach to masses and the preservation of the content has allowed preservation and subsequent promotion of various art forms. This paper concerns with the Indian classical music and the role media played in promoting it. Cinema has been the prime carrier of the art form but other mediums too have played a significant role. The related literature suggests the same and provides evidence for the same. The literature however mostly relates to art in general with very little reference to Indian Classical Music. The objective of this paper is to study the perceived role of media in promoting Indian Classical Music. The study was conducted using survey method on 246 (N) respondents. The data was analysed using statistical analysis including ANOVA and T-Test to find the difference in opinions of the respondents categorised on various basis. The findings suggest that people strongly believe that media has been instrumental in promoting Indian Classical Music. The feeling however is not the same for all mediums but for some mediums like Radio and Cinema. People also believe that reality shows have brought Indian classical music to the fore though it still has not translated into the creation of greater opportunities leading to more financial freedom amongst the classical musicians.
{"title":"The Role of Media in Promoting Hindustani Classical Music","authors":"Smriti Bhardwaj","doi":"10.30819/aemr.11-7","DOIUrl":"https://doi.org/10.30819/aemr.11-7","url":null,"abstract":"\u0000 Media has been pivotal in preservation of art for ages. The traditions and cultures have been travelling across\u0000generations via media through centuries. And as the media experienced technological advancement, it became\u0000more potent and started playing even more crucial role. The ability of the media contents to reach to masses and\u0000the preservation of the content has allowed preservation and subsequent promotion of various art forms. This paper\u0000concerns with the Indian classical music and the role media played in promoting it. Cinema has been the prime\u0000carrier of the art form but other mediums too have played a significant role. The related literature suggests the\u0000same and provides evidence for the same. The literature however mostly relates to art in general with very little\u0000reference to Indian Classical Music. The objective of this paper is to study the perceived role of media in promoting\u0000Indian Classical Music. The study was conducted using survey method on 246 (N) respondents. The data was\u0000analysed using statistical analysis including ANOVA and T-Test to find the difference in opinions of the\u0000respondents categorised on various basis. The findings suggest that people strongly believe that media has been\u0000instrumental in promoting Indian Classical Music. The feeling however is not the same for all mediums but for\u0000some mediums like Radio and Cinema. People also believe that reality shows have brought Indian classical music\u0000to the fore though it still has not translated into the creation of greater opportunities leading to more financial\u0000freedom amongst the classical musicians.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"114 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79373736","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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