Pub Date : 2023-12-31DOI: 10.15294/harmonia.v23i2.40597
Slamet Subiyantoro, Takamasa Fukuda, A. Hindrayani, D. Fahrudin, Yogi Kuswara
Panji masks are one of the mask arts that originated in Indonesia and come in a variety of styles. One of the existing Panji mask styles is the Yogyakarta style, made of Pule wood and used in dance or theater performances. While in Japan, masks used in dance or theater performances, known as Noh masks, are made of cypress wood. Panji masks and Noh masks are long-standing cultural heritage arts. This study aims to identify and analyze the similarities and differences between the elements of art and the principles of art preserved in the Panji and Noh masks. A comparative qualitative method was used for the study. Library research, observation, interviews, documentation, and focused group discussions (FGD) were used to collect the data. Data processing and preparation, data reduction, data presentation, and conclusion drawing were all completed in stages. The results revealed similarities and differences between the Panji and Noh masks. Several principles are shared by Panji and Noh masks, including point elements, line shape, the principle of unity, balance, rhythm, proportion, and the principle of harmony. The line, field/shape element, color element, texture element, and emphasis principle are all different. These similarities and differences are due to a variety of factors, including the two countries’ geographical proximity (both on the Asian continent), as well as their history, customs, and culture.
{"title":"Comparative Study of Japanese and Indonesian Panji Mask in Light on Fine Art Elements and Principles","authors":"Slamet Subiyantoro, Takamasa Fukuda, A. Hindrayani, D. Fahrudin, Yogi Kuswara","doi":"10.15294/harmonia.v23i2.40597","DOIUrl":"https://doi.org/10.15294/harmonia.v23i2.40597","url":null,"abstract":"Panji masks are one of the mask arts that originated in Indonesia and come in a variety of styles. One of the existing Panji mask styles is the Yogyakarta style, made of Pule wood and used in dance or theater performances. While in Japan, masks used in dance or theater performances, known as Noh masks, are made of cypress wood. Panji masks and Noh masks are long-standing cultural heritage arts. This study aims to identify and analyze the similarities and differences between the elements of art and the principles of art preserved in the Panji and Noh masks. A comparative qualitative method was used for the study. Library research, observation, interviews, documentation, and focused group discussions (FGD) were used to collect the data. Data processing and preparation, data reduction, data presentation, and conclusion drawing were all completed in stages. The results revealed similarities and differences between the Panji and Noh masks. Several principles are shared by Panji and Noh masks, including point elements, line shape, the principle of unity, balance, rhythm, proportion, and the principle of harmony. The line, field/shape element, color element, texture element, and emphasis principle are all different. These similarities and differences are due to a variety of factors, including the two countries’ geographical proximity (both on the Asian continent), as well as their history, customs, and culture.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":" 798","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139136369","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}
Pub Date : 2023-12-31DOI: 10.15294/harmonia.v23i2.38229
Wilma Sriwulan, Irwan Irwan, Selvi Kasman, Yon Hendri, E. Erizal
This research aims to reveal Minang women’s music to find a common thread perspective on Minangkabau matrilineal women. The method used in this research is a women’s perspective research method (feminist perspective). This method produces a very distinctive report, which is obtained from data through feminist ethnography, which is a report on the results of field research. The findings are that women’s music based on Adat Salingka Nagari is a women’s music that blends with Adat (tradition) and provides an opportunity to actualize themselves in the societies; as a result of being a Anak Dendang they get more than enough benefits and as family breadwinners.
本研究旨在揭示米南妇女的音乐，以找到米南卡鲍母系妇女的共同视角。本研究采用的方法是妇女视角研究法（女性主义视角）。这种方法产生了一份非常独特的报告，它是通过女性主义人种学获得的数据，是一份关于实地研究成果的报告。研究结果表明，以 Adat Salingka Nagari 为基础的妇女音乐是一种与 Adat（传统）相融合的妇女音乐，为妇女提供了在社会中实现自我的机会；作为 Anak Dendang 的一员，她们获得了更多的利益，并成为家庭的经济支柱。
{"title":"Minang Women’s Music in Matrilineal Kinship: Revealing the Boundaries of Ethics and Performance Aesthetics","authors":"Wilma Sriwulan, Irwan Irwan, Selvi Kasman, Yon Hendri, E. Erizal","doi":"10.15294/harmonia.v23i2.38229","DOIUrl":"https://doi.org/10.15294/harmonia.v23i2.38229","url":null,"abstract":"This research aims to reveal Minang women’s music to find a common thread perspective on Minangkabau matrilineal women. The method used in this research is a women’s perspective research method (feminist perspective). This method produces a very distinctive report, which is obtained from data through feminist ethnography, which is a report on the results of field research. The findings are that women’s music based on Adat Salingka Nagari is a women’s music that blends with Adat (tradition) and provides an opportunity to actualize themselves in the societies; as a result of being a Anak Dendang they get more than enough benefits and as family breadwinners.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"85 19","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139130575","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 relevance of this study is conditioned upon the need to highlight the internal content of the modern academic musical language and, specifically, the features of the late work of G. Ligeti. This paper aimed to conduct an in-depth study, comprehensively covering, analyzing, and generalizing the panoramic display of the creative traditions of G. Ligeti in the context of world musical art. The materials of this paper are sources that illuminate the path of stylistic search and the evolution of the musician’s composition, as well as information about the leading directions of the modern world academic musical environment. The research methods included a search and collection of information base dedicated to the Hamburg Concerto by G. Ligeti; analysis and compilation of available materials; determination of the leading categories of the phenomenon presented in the late period of the composer’s work; showing his stylistic and compositional principles as a single multifaceted system. The result of the study was the individual author’s concept of vision of the role, significance, and content of G. Ligeti’s work in the history of academic musical art. The practical significance of this study was manifested in the demand for the results of this study among students of secondary and higher musical educational institutions, as well as among specialists investigating the processes of transformation and expansion of the boundaries of the melodic, compositional, and technical arsenal of professional musical creativity.
本研究的现实意义在于需要突出现代学术音乐语言的内在内涵，特别是 G. Ligeti 晚期作品的特点。本文旨在进行深入研究，全面涵盖、分析和概括 G. Ligeti 在世界音乐艺术背景下的创作传统的全景展示。本文的素材来源于阐明音乐家风格探索和创作演变路径的资料，以及有关现代世界音乐学术环境主导方向的信息。研究方法包括搜索和收集 G. Ligeti 的《汉堡协奏曲》专用信息库；分析和汇编现有资料；确定作曲家晚期作品中呈现的现象的主要类别；将其风格和作曲原则显示为一个单一的多层面系统。研究结果是作者个人对 G. Ligeti 作品在学术音乐艺术史上的作用、意义和内容的看法。这项研究的实际意义体现在，中等和高等音乐教育机构的学生，以及研究旋律、作曲和专业音乐创作技术库边界的转变和扩展过程的专家，都需要这项研究的成果。
{"title":"G. Ligeti’s Hamburg Concerto as a Summary of Late Artistic Tendencies","authors":"Valeriya Zharkova, Oleksandr Zharkov, Olena Antonova, Tetiana Filatova, Ganna Rizaieva","doi":"10.15294/harmonia.v23i2.45933","DOIUrl":"https://doi.org/10.15294/harmonia.v23i2.45933","url":null,"abstract":"The relevance of this study is conditioned upon the need to highlight the internal content of the modern academic musical language and, specifically, the features of the late work of G. Ligeti. This paper aimed to conduct an in-depth study, comprehensively covering, analyzing, and generalizing the panoramic display of the creative traditions of G. Ligeti in the context of world musical art. The materials of this paper are sources that illuminate the path of stylistic search and the evolution of the musician’s composition, as well as information about the leading directions of the modern world academic musical environment. The research methods included a search and collection of information base dedicated to the Hamburg Concerto by G. Ligeti; analysis and compilation of available materials; determination of the leading categories of the phenomenon presented in the late period of the composer’s work; showing his stylistic and compositional principles as a single multifaceted system. The result of the study was the individual author’s concept of vision of the role, significance, and content of G. Ligeti’s work in the history of academic musical art. The practical significance of this study was manifested in the demand for the results of this study among students of secondary and higher musical educational institutions, as well as among specialists investigating the processes of transformation and expansion of the boundaries of the melodic, compositional, and technical arsenal of professional musical creativity.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":" 762","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139136410","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}
Pub Date : 2023-06-29DOI: 10.15294/harmonia.v23i1.40854
Ainun Majid, Suastiwi Suastiwi, G. R. L. Simatupang
Marugame Udon is a Japanese fast-food restaurant chain with many branches in Indonesia. This study examines the conveyance of the Japanese atmosphere to visitors as a performance. Interior research based on performance theory has not been widely conducted. This study aims to determine the performative influence of Marugame Udon’s interior on visitors by exploring Richard Schechner’s performance aspects (action, interaction, relationship). This study uses a qualitative approach with a case study method to deeply explore data from visitors and interior elements. The data collection techniques used are observation, in-depth interviews, literature study, and company profile reading. Data analysis is done by reduction, presentation, and drawing conclusions and recommendations. The findings of this study are: (1) the “action” exploration finds that the interior display is a manifestation of Marugame Udon’s identity as a Japanese restaurant chain and its commitment to introducing Japanese culture, especially Sanuki; (2) the “interaction” exploration finds that the presence of interior elements is a mutually dependent system in displaying the atmosphere (Japanese), and visitors interact most with noren and the theater kitchen; (3) the “relationship” exploration reveals that Marugame Udon does not only act as a restaurant providing food and drinks but also as a stimulating agent that influences visitors’ perceptions and evokes their memories and desires related to Japanese culture. These three findings indicate that Marugame Udon’s interior is a static performative ecosystem that can interact and form relationships with visitors.
{"title":"The Conveyance of the Japanese Atmosphere to Visitors as a Performance at Marugame Udon, Solo Paragon Lifestyle Mall","authors":"Ainun Majid, Suastiwi Suastiwi, G. R. L. Simatupang","doi":"10.15294/harmonia.v23i1.40854","DOIUrl":"https://doi.org/10.15294/harmonia.v23i1.40854","url":null,"abstract":"Marugame Udon is a Japanese fast-food restaurant chain with many branches in Indonesia. This study examines the conveyance of the Japanese atmosphere to visitors as a performance. Interior research based on performance theory has not been widely conducted. This study aims to determine the performative influence of Marugame Udon’s interior on visitors by exploring Richard Schechner’s performance aspects (action, interaction, relationship). This study uses a qualitative approach with a case study method to deeply explore data from visitors and interior elements. The data collection techniques used are observation, in-depth interviews, literature study, and company profile reading. Data analysis is done by reduction, presentation, and drawing conclusions and recommendations. The findings of this study are: (1) the “action” exploration finds that the interior display is a manifestation of Marugame Udon’s identity as a Japanese restaurant chain and its commitment to introducing Japanese culture, especially Sanuki; (2) the “interaction” exploration finds that the presence of interior elements is a mutually dependent system in displaying the atmosphere (Japanese), and visitors interact most with noren and the theater kitchen; (3) the “relationship” exploration reveals that Marugame Udon does not only act as a restaurant providing food and drinks but also as a stimulating agent that influences visitors’ perceptions and evokes their memories and desires related to Japanese culture. These three findings indicate that Marugame Udon’s interior is a static performative ecosystem that can interact and form relationships with visitors.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76398220","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}
Pub Date : 2023-06-29DOI: 10.15294/harmonia.v23i1.42447
Nur Sahid, J. Junaidi, Nur Iswantara
This study aims to analyze the meaning of signs related to political conflict between characters in sineprak “Satru Ing Ngepal” (SIN). The political conflicts between these figures will be analyzed for their meaning by relating them to the social-historical context of Indonesia in the New Order and Reformation Eras. The research uses a theatrical semiotic theory approach, dividing theatrical performances into 13 sign systems. Signs related to political conflict between figures will be analyzed denotatively and connotatively. The content analysis method from Kriipendorf was used to analyze the data. The results of this study indicate that Senopati’s political conflict with Mangir semiotically refers to the meaning of the political conflict between the New Order and Reform rulers and the opposition. The enmity between Senopati, Juru Mertani, and Mangir refers to the meaning of the conflict between Wiranto and Prabowo Subianto. Pembayun’s marriage to Mangir means Prabowo Subianto joining President Jokowi’s government for 2019-2024. Pembayun’s courage to fight for Mataram peace with Mangir’s fief land refers to RA Kartini’s emancipation.
本研究的目的是分析《尼泊尔语》中与人物政治冲突有关的符号的意义。这些人物之间的政治冲突将通过将它们与印尼在新秩序和改革时代的社会历史背景联系起来，来分析它们的意义。本研究运用戏剧符号学理论方法，将戏剧表演分为13个符号系统。与人物之间的政治冲突有关的符号将从象征意义和内涵上进行分析。采用Kriipendorf的含量分析法对数据进行分析。本研究结果表明，塞诺帕提与曼吉尔的政治冲突在符号学上指的是新秩序与维新统治者与反对派之间的政治冲突。Senopati, Juru Mertani和manir之间的敌意指的是Wiranto和Prabowo Subianto之间冲突的意义。彭巴雍与曼吉尔的婚姻意味着普拉博沃·苏比安托将在2019-2024年加入佐科威总统的政府。彭巴云用曼吉尔的封地为马塔兰和平而战的勇气指的是RA Kartini的解放。
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Pub Date : 2023-06-29DOI: 10.15294/harmonia.v23i1.39275
M. Zamani
Proverb sits under the umbrella of figurative language and is used to sweeten speeches. In Malay, pepatah is the equivalent of this form of figurative language. Razak Abdul Aziz, a Malaysian composer, selected a set of Malay proverbs and adapted them into his piano work, Pepatah Episodes. The composer follows the tradition of piano programme music that uses figurative language elements championed by composers such as Alexander Scriabin, Claude Debussy, and Maurice Ravel. This paper aims to investigate the pepatahs chosen to be paired with the written music, expounding the programme in the movements for piano. Using the programme music analysis framework by Burkholder et al. (2014) and Kregor (2015), the finding shows that the composer chose the pepatahs for one of the three (3) portrayals: (i) imageries in the pepatah (ii) imageries in the meaning, and (iii) imageries in pepatah and meaning. The programme analysis shows that from the nine (9) movements written for piano, four (4) movements portray imageries in the pepatah, three (3) movements portray imageries in the meaning, and two (2) movements portray imageries in the pepatah and meaning. Razak Abdul Aziz challenges the conventions of programme music by having the pepatah set after the music is written, demanding the performer to read it aloud before performing and having the portrayal of the pepatah in the mentioned ways. This provides a different perspective for other composers to produce works using similar frameworks and scholars to analyse musical works.
谚语处于比喻语言的保护伞下，用来使演讲变得更动听。在马来语中，pepatah相当于这种形式的比喻语言。马来西亚作曲家拉扎克·阿卜杜勒·阿齐兹(Razak Abdul Aziz)选择了一套马来谚语，并将其改编成他的钢琴作品《Pepatah Episodes》。作曲家遵循钢琴节目音乐的传统，使用亚历山大·斯克里亚宾、克劳德·德彪西和莫里斯·拉威尔等作曲家所倡导的比喻语言元素。本文旨在探讨与谱曲搭配的音律选择，阐述钢琴乐章中的程序。使用Burkholder等人(2014)和Kregor(2015)的节目音乐分析框架，研究结果表明，作曲家选择了三(3)种描绘之一的pepatah: (i) pepatah中的意象;(ii)意义中的意象;(iii) pepatah和意义中的意象。程序分析表明，从为钢琴写的九(9)个乐章中，四(4)个乐章在pepatah中描绘意象，三(3)个乐章在意思中描绘意象，两(2)个乐章在pepatah和意义中描绘意象。Razak Abdul Aziz挑战了节目音乐的惯例，在音乐写好后设置pepatah，要求表演者在表演前大声朗读，并以上述方式描绘pepatah。这为其他作曲家使用类似的框架创作作品和学者分析音乐作品提供了不同的视角。
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Pub Date : 2023-06-29DOI: 10.15294/harmonia.v23i1.37661
S. Sarwono, N. S. Prameswari, Darwoto Darwoto, Zunaila Akhmad, Hanisa Hassan
Troso woven cloth, located in Troso village, Jepara city, is one of the various Indonesian cultural heritages first discovered in AD. The purposes of this study are: 1) to investigate the woven cloth and its uses, the relationship between woven cloth with cultural and religious traditions, and the relationship between the woven cloth and local identity; 2) to design a new motif of Troso woven cloth that incorporates the elements of Jepara culture. The study used a practice-based research approach. The data were collected by purposive sampling technique. The results showed that the local community commonly uses woven fabric products as decorative. Troso cloth is also used to design attires, gamis dresses, or koko shirts for the feast day or formal events. The craftsmen of Troso woven fabrics made in Jepara primarily receive orders with motifs from other regions, including Bali, Sumatra, and Kalimantan. In contrast, the original woven fabric motifs distinctive from Troso are rarely known to the general public. The study formulates a new digital-based motif of the Troso fabric pattern that displays the iconic elements of Jepara city. The iconic depictions of Jepara are in the form of turtles, Jepara wooden carvings, and wave patterns. This research is expected to elevate the Troso fabric’s identity as a local identity of Jepara city and contribute to the Troso village community to develop the Troso fabric unique to the region.
{"title":"The Experiment of Jepara Troso Woven in Local Wisdom","authors":"S. Sarwono, N. S. Prameswari, Darwoto Darwoto, Zunaila Akhmad, Hanisa Hassan","doi":"10.15294/harmonia.v23i1.37661","DOIUrl":"https://doi.org/10.15294/harmonia.v23i1.37661","url":null,"abstract":"Troso woven cloth, located in Troso village, Jepara city, is one of the various Indonesian cultural heritages first discovered in AD. The purposes of this study are: 1) to investigate the woven cloth and its uses, the relationship between woven cloth with cultural and religious traditions, and the relationship between the woven cloth and local identity; 2) to design a new motif of Troso woven cloth that incorporates the elements of Jepara culture. The study used a practice-based research approach. The data were collected by purposive sampling technique. The results showed that the local community commonly uses woven fabric products as decorative. Troso cloth is also used to design attires, gamis dresses, or koko shirts for the feast day or formal events. The craftsmen of Troso woven fabrics made in Jepara primarily receive orders with motifs from other regions, including Bali, Sumatra, and Kalimantan. In contrast, the original woven fabric motifs distinctive from Troso are rarely known to the general public. The study formulates a new digital-based motif of the Troso fabric pattern that displays the iconic elements of Jepara city. The iconic depictions of Jepara are in the form of turtles, Jepara wooden carvings, and wave patterns. This research is expected to elevate the Troso fabric’s identity as a local identity of Jepara city and contribute to the Troso village community to develop the Troso fabric unique to the region. ","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84662250","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}
Pub Date : 2023-06-29DOI: 10.15294/harmonia.v23i1.37716
A Z M Raden, Rustopo Rustopo, Timbul Haryono, Dendi Pratama
The Sundanese script is one of Indonesia’s traditional scripts. The existence of Sundanese script is still being preserved by cultural activists and the Sundanese script literacy community, one of which is through calligraphy in Sundanese script. This article will analyze the calligraphy of Sundanese script by Edi Dolan posted on his social media. The Sundanese calligraphy that will be discussed is in the form of puppets, animals, and humans. The Sundanese calligraphy will be reviewed through an iconographic approach. Iconography has three levels in analyzing objects, namely (1) Pre-iconography, which is to describe the formal aspects of the object; (2) Iconography, which is to interpret images, stories, and metaphors; (3) Content analysis through revealing the intricacies of the object. The results of the research elaborate on the formal aspects found in Sundanese calligraphy objects, resulting in multidimensional interpretations built on images, stories, and other multidimensional object meanings, thus showing a complete correlation of all these aspects in expressing Sundanese identity.
{"title":"Iconography: Sundanese Calligraphy as Artistic Expressions of Identity","authors":"A Z M Raden, Rustopo Rustopo, Timbul Haryono, Dendi Pratama","doi":"10.15294/harmonia.v23i1.37716","DOIUrl":"https://doi.org/10.15294/harmonia.v23i1.37716","url":null,"abstract":"The Sundanese script is one of Indonesia’s traditional scripts. The existence of Sundanese script is still being preserved by cultural activists and the Sundanese script literacy community, one of which is through calligraphy in Sundanese script. This article will analyze the calligraphy of Sundanese script by Edi Dolan posted on his social media. The Sundanese calligraphy that will be discussed is in the form of puppets, animals, and humans. The Sundanese calligraphy will be reviewed through an iconographic approach. Iconography has three levels in analyzing objects, namely (1) Pre-iconography, which is to describe the formal aspects of the object; (2) Iconography, which is to interpret images, stories, and metaphors; (3) Content analysis through revealing the intricacies of the object. The results of the research elaborate on the formal aspects found in Sundanese calligraphy objects, resulting in multidimensional interpretations built on images, stories, and other multidimensional object meanings, thus showing a complete correlation of all these aspects in expressing Sundanese identity.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"35 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86864786","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}
Pub Date : 2023-06-29DOI: 10.15294/harmonia.v23i1.39644
M. Alkiyumi
The Sultanate of Oman is characterized by a huge and creative musical heritage that remains mostly preserved. One hundred forty-two different traditional musical genres and styles (funun) have been registered in the Sultanate. This study aimed to investigate the Omanis’ musical creative achievements and the psychological motives behind Omani musical creative achievements. The present qualitative study adopted ethnographic research. The two study’s questions were answered in two stages: firstly, by analysis of relevant documents of Omani genres, and secondly stage based on analysis of documentary films and direct observations. The study showed that the Omanis created such musical achievements, including many genres, rhythms, instruments, and ways of performing. Furthermore, research has shown psychological motives that motivated Omani people to create these various genres, such as provocation of enthusiasm, meditation, religious motivations, poetic competition, and emotional motivation. For each motive, musical genres have been presented.
{"title":"The Investigation of Psychological Motives of Creative Abilities in The Omani Musical Intelligence","authors":"M. Alkiyumi","doi":"10.15294/harmonia.v23i1.39644","DOIUrl":"https://doi.org/10.15294/harmonia.v23i1.39644","url":null,"abstract":"The Sultanate of Oman is characterized by a huge and creative musical heritage that remains mostly preserved. One hundred forty-two different traditional musical genres and styles (funun) have been registered in the Sultanate. This study aimed to investigate the Omanis’ musical creative achievements and the psychological motives behind Omani musical creative achievements. The present qualitative study adopted ethnographic research. The two study’s questions were answered in two stages: firstly, by analysis of relevant documents of Omani genres, and secondly stage based on analysis of documentary films and direct observations. The study showed that the Omanis created such musical achievements, including many genres, rhythms, instruments, and ways of performing. Furthermore, research has shown psychological motives that motivated Omani people to create these various genres, such as provocation of enthusiasm, meditation, religious motivations, poetic competition, and emotional motivation. For each motive, musical genres have been presented.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"58 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85381850","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}
Pub Date : 2023-06-29DOI: 10.15294/harmonia.v23i1.41034
Hery Budiawan, Rizky Fauzy Ananda
This article aims to find a new way to process repetition in musical composition with the least common multiple (LCM) mathematical approach. Music and mathematics have a very close relationship; in music, the element of mathematics with the derivation of physical science is the most relevant and always interesting study of musical composition. This study aims to analyse the music composition of Rizky Fauzy Ananda’s work, Rajékan, by looking at mathematical theory with the approach of The least common multiple (LCM). The method used with practice-led Research as an approach to music composition. The creation research methodology used is Artistic Research through a Practice-Led Research approach which is also integrated with mathematical theory and musicology, especially music composition. The results of this creative Research prove that repetition in music and in the context of life is important and mathematics always present in human life. Repetition has largely underpinned development in music. In the context of life, reps are things that always exist in everyday life, such as worship activities and lifestyles. Such repetitive phenomena can also provide certain learning or meaning for the individual. In the context of education, reps are the easiest and most basic way of learning to learn and recall about understanding something. Repetition processing whose ideas come from the phenomenon of researchers’ self-experience, produces two repetition processing techniques with the LCM mathematical style (1) magnification and reduction of sound values that make up the cycle, (2) imitation.
{"title":"Music and Mathematics: Processing Repetition Techniques with the Least Common Multiple (LCM) in Rajékan Music Composition","authors":"Hery Budiawan, Rizky Fauzy Ananda","doi":"10.15294/harmonia.v23i1.41034","DOIUrl":"https://doi.org/10.15294/harmonia.v23i1.41034","url":null,"abstract":"This article aims to find a new way to process repetition in musical composition with the least common multiple (LCM) mathematical approach. Music and mathematics have a very close relationship; in music, the element of mathematics with the derivation of physical science is the most relevant and always interesting study of musical composition. This study aims to analyse the music composition of Rizky Fauzy Ananda’s work, Rajékan, by looking at mathematical theory with the approach of The least common multiple (LCM). The method used with practice-led Research as an approach to music composition. The creation research methodology used is Artistic Research through a Practice-Led Research approach which is also integrated with mathematical theory and musicology, especially music composition. The results of this creative Research prove that repetition in music and in the context of life is important and mathematics always present in human life. Repetition has largely underpinned development in music. In the context of life, reps are things that always exist in everyday life, such as worship activities and lifestyles. Such repetitive phenomena can also provide certain learning or meaning for the individual. In the context of education, reps are the easiest and most basic way of learning to learn and recall about understanding something. Repetition processing whose ideas come from the phenomenon of researchers’ self-experience, produces two repetition processing techniques with the LCM mathematical style (1) magnification and reduction of sound values that make up the cycle, (2) imitation.","PeriodicalId":36152,"journal":{"name":"Harmonia: Journal of Arts Research and Education","volume":"43 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90463815","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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