Pub Date : 2023-06-01DOI: 10.1353/amu.2023.a903457
Ricardo D. Trimillos
The occasion for this keynote was the centenary celebration of José Monsarrat Maceda (1917–2004) in 2017. Professor Maceda was a pioneer in Philippine ethnomusicology and the premier internationally recognized scholar of his generation.1 He was published in international journals, including among others Ethnomusicology , the Yearbook of the International Council for Traditional Music , Acta Musicologica , Neue Zeitschrift für Musik , and Revue d’esthetique nouvelle , and in various languages including English, German, Dutch, French, Portuguese, and Pilipino (Tagalog). In his earlier years he enjoyed an international career as a concert pianist specializing in late nineteenth-century French music, and he had an equally strong reputation as an avant-garde composer with works performed throughout Europe, the Americas, and Asia (Tenzer 2003). He was recognized by the Republic of the Philippines as a National Artist for Music in 1997. He was a strong advocate for indigenous epis-temologies related to the Philippines as a nation, to Southeast Asia as a region, and to Asia as an area distinct from the West. He organized international conferences in the region on the topic. As an Asian scholar and composer of international renown, he is one of the few whose residence and professional locus of productivity remained in Asia throughout his lifetime—that is, in Manila, Republic of the Philippines. He was an exemplary scholar; he was an exem-plary Asian.2 The keynote references Professor Maceda in terms of his life, characteristics, and accomplishments as a framework for the broader considerations of Asia indicated in the title.
{"title":"Asian Music, the Asian Scholar, and Modern Asia: A Keynote Address","authors":"Ricardo D. Trimillos","doi":"10.1353/amu.2023.a903457","DOIUrl":"https://doi.org/10.1353/amu.2023.a903457","url":null,"abstract":"The occasion for this keynote was the centenary celebration of José Monsarrat Maceda (1917–2004) in 2017. Professor Maceda was a pioneer in Philippine ethnomusicology and the premier internationally recognized scholar of his generation.1 He was published in international journals, including among others Ethnomusicology , the Yearbook of the International Council for Traditional Music , Acta Musicologica , Neue Zeitschrift für Musik , and Revue d’esthetique nouvelle , and in various languages including English, German, Dutch, French, Portuguese, and Pilipino (Tagalog). In his earlier years he enjoyed an international career as a concert pianist specializing in late nineteenth-century French music, and he had an equally strong reputation as an avant-garde composer with works performed throughout Europe, the Americas, and Asia (Tenzer 2003). He was recognized by the Republic of the Philippines as a National Artist for Music in 1997. He was a strong advocate for indigenous epis-temologies related to the Philippines as a nation, to Southeast Asia as a region, and to Asia as an area distinct from the West. He organized international conferences in the region on the topic. As an Asian scholar and composer of international renown, he is one of the few whose residence and professional locus of productivity remained in Asia throughout his lifetime—that is, in Manila, Republic of the Philippines. He was an exemplary scholar; he was an exem-plary Asian.2 The keynote references Professor Maceda in terms of his life, characteristics, and accomplishments as a framework for the broader considerations of Asia indicated in the title.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"102 1","pages":"101 - 117"},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139371113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/amu.2023.a903453
Christina Sunardi
Abstract:Drawing on ethnographic fieldwork in Malang, analysis of song texts, analysis of the setting of texts to gamelan music, and the work of Deborah Wong (2015, 2019), Alisha Lola Jones (2018), and others, I argue that a powerful physicality of pleasure provided a mechanism for performers to assert and produce east Javaneseness as they taught me to sing a form of poetry called parikan in the course of performing the female-style traditional dance Ngremo Putri. This potent physicality of pleasure motivated performers’ cultural work to continue making space for and producing what they perceived as endangered east Javanese traditions.Berangkat dari penelitian etnografis di Malang, kajian atas teks kidungan dan setting teks di musik gamelan, dan karya-karya Deborah Wong (2015, 2019), Alisha Lola Jones (2018), dan lain-lain, penulis berpendapat bahwa fisikalitas kegembiraan telah membangkitkan dan menegaskan esensi ke-Jawa Timuran para seniman ketika mengajari penulis mengidungkan puisi berjenis parikan dalam pertunjukan tarian tradisional dengan gaya perempuan, Ngremo Putri. Fisikalitas kegembiraan yang teramat besar ini telah memotivasi para seniman untuk terus membuka ruang kreasi dan memproduksi apa yang mereka lihat sebagai tradisi Jawa Timur yang hampir punah.
{"title":"The Pleasures of Parikan in Malang, East Java: An Analysis of Text and Music in the Dance Ngremo Putri","authors":"Christina Sunardi","doi":"10.1353/amu.2023.a903453","DOIUrl":"https://doi.org/10.1353/amu.2023.a903453","url":null,"abstract":"Abstract:Drawing on ethnographic fieldwork in Malang, analysis of song texts, analysis of the setting of texts to gamelan music, and the work of Deborah Wong (2015, 2019), Alisha Lola Jones (2018), and others, I argue that a powerful physicality of pleasure provided a mechanism for performers to assert and produce east Javaneseness as they taught me to sing a form of poetry called parikan in the course of performing the female-style traditional dance Ngremo Putri. This potent physicality of pleasure motivated performers’ cultural work to continue making space for and producing what they perceived as endangered east Javanese traditions.Berangkat dari penelitian etnografis di Malang, kajian atas teks kidungan dan setting teks di musik gamelan, dan karya-karya Deborah Wong (2015, 2019), Alisha Lola Jones (2018), dan lain-lain, penulis berpendapat bahwa fisikalitas kegembiraan telah membangkitkan dan menegaskan esensi ke-Jawa Timuran para seniman ketika mengajari penulis mengidungkan puisi berjenis parikan dalam pertunjukan tarian tradisional dengan gaya perempuan, Ngremo Putri. Fisikalitas kegembiraan yang teramat besar ini telah memotivasi para seniman untuk terus membuka ruang kreasi dan memproduksi apa yang mereka lihat sebagai tradisi Jawa Timur yang hampir punah.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"46 1","pages":"37 - 6"},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139371295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/amu.2023.a903459
Eric Hung
we approach and redefine broadcasting “with viewers and listeners of the narrowcastasbroadcast engaging in live time or afterwards in soughtafter comments and ‘likes’ ” (chapter 3, 55)? How or to what extent does the highly political and economically charged jargon of APAC present an alternative to “the problematic descriptor ‘Oriental’ ” (introduction, 2)? Or how should we apply it in a context in which Lisu radio programs are broadcast by a media organization called Far East Broadcasting Company (chapter 2, 33)? It would have been useful if some of these larger comparative and theoretical dimensions, as well as suggestions for further research, had been addressed in an additional concluding chapter by the book editors. This is not to devalue the book’s merits outlined previously. In thoughtprovoking ways, the authors demonstrate how music, media, and technology cross, and in often ingenious ways intersect, the fields of individual expression, community building, state ideology, religion, customary tradition, commerce, identity politics, selfdetermination, and resistance. Throughout the region, the arts, the media, and their sociopolitical contexts have been the products of the historical and contemporary connections, tensions, and sometimes unlikely alliances and collaborations between performers, media producers, consumers, governments, civil society organizations, and activists. One of the book’s key contributions lies in making its readers realize that the region’s music and broadcasting practices and broader cultural, social, and political landscapes are shaped by paradoxes and unpredictability, in themselves unique, at least as much as they are by socalled intrinsic features or fundamental traits.
{"title":"Tokyo Listening: Sound and Sense in a Contemporary City by Lorraine Plourde (review)","authors":"Eric Hung","doi":"10.1353/amu.2023.a903459","DOIUrl":"https://doi.org/10.1353/amu.2023.a903459","url":null,"abstract":"we approach and redefine broadcasting “with viewers and listeners of the narrowcastasbroadcast engaging in live time or afterwards in soughtafter comments and ‘likes’ ” (chapter 3, 55)? How or to what extent does the highly political and economically charged jargon of APAC present an alternative to “the problematic descriptor ‘Oriental’ ” (introduction, 2)? Or how should we apply it in a context in which Lisu radio programs are broadcast by a media organization called Far East Broadcasting Company (chapter 2, 33)? It would have been useful if some of these larger comparative and theoretical dimensions, as well as suggestions for further research, had been addressed in an additional concluding chapter by the book editors. This is not to devalue the book’s merits outlined previously. In thoughtprovoking ways, the authors demonstrate how music, media, and technology cross, and in often ingenious ways intersect, the fields of individual expression, community building, state ideology, religion, customary tradition, commerce, identity politics, selfdetermination, and resistance. Throughout the region, the arts, the media, and their sociopolitical contexts have been the products of the historical and contemporary connections, tensions, and sometimes unlikely alliances and collaborations between performers, media producers, consumers, governments, civil society organizations, and activists. One of the book’s key contributions lies in making its readers realize that the region’s music and broadcasting practices and broader cultural, social, and political landscapes are shaped by paradoxes and unpredictability, in themselves unique, at least as much as they are by socalled intrinsic features or fundamental traits.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"38 1","pages":"120 - 124"},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139371841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/amu.2023.a903458
Edwin Jurriëns
{"title":"Sound Communities in the Asia Pacific: Music, Media, and Technology ed. by Lonán Ó Briain and Min Yen Ong (review)","authors":"Edwin Jurriëns","doi":"10.1353/amu.2023.a903458","DOIUrl":"https://doi.org/10.1353/amu.2023.a903458","url":null,"abstract":"","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"59 1","pages":"118 - 120"},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139371861","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/amu.2023.a903460
Marty Regan
{"title":"Japan’s Musical Tradition: Hogaku from Prehistory to the Present by Miyuki Yoshikami (review)","authors":"Marty Regan","doi":"10.1353/amu.2023.a903460","DOIUrl":"https://doi.org/10.1353/amu.2023.a903460","url":null,"abstract":"","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"1 1","pages":"124 - 130"},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139371450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/amu.2023.a903456
Frederick Lau
This paper combines two elements with which we in this field are familiar: selfies and ethnography. They might seem unrelated, but both deal with doc umentation, presentation, and representation—processes with which ethno musicologists are acquainted. The recent popular phenomenon of people taking selfies is almost a way of life. Practically everyone who owns a smart phone has taken at least one. While it looks relatively easy to do, taking a selfie is tricky because one needs to position the phone at a perfect angle and per spective in order to show the selfie taker and the surroundings in the best pos sible way. For many people, me included, taking a good selfie is more easily said than done (see fig. 1). I have taken countless selfies with head and body in disproportion, distorted face, grotesque expressions, and parts of myself not even in the photo. Someone once instructed me that the phone needs to be held slightly higher than the head but tilted at an angle. It is also necessary to control the timing of pushing the shutter and remember which button to push. I have tried all these tips, but most of the time the results are barely ac ceptable. At least in theory, a good selfie simply requires finesse, skill, and ex perience, but in practice it is a different matter. The playful and spontaneous act of selfie taking actually requires more skills and forethought than it seems.
{"title":"The Ethnographic Selfie—When the Lens Is on Your Own Culture: A Keynote Address","authors":"Frederick Lau","doi":"10.1353/amu.2023.a903456","DOIUrl":"https://doi.org/10.1353/amu.2023.a903456","url":null,"abstract":"This paper combines two elements with which we in this field are familiar: selfies and ethnography. They might seem unrelated, but both deal with doc umentation, presentation, and representation—processes with which ethno musicologists are acquainted. The recent popular phenomenon of people taking selfies is almost a way of life. Practically everyone who owns a smart phone has taken at least one. While it looks relatively easy to do, taking a selfie is tricky because one needs to position the phone at a perfect angle and per spective in order to show the selfie taker and the surroundings in the best pos sible way. For many people, me included, taking a good selfie is more easily said than done (see fig. 1). I have taken countless selfies with head and body in disproportion, distorted face, grotesque expressions, and parts of myself not even in the photo. Someone once instructed me that the phone needs to be held slightly higher than the head but tilted at an angle. It is also necessary to control the timing of pushing the shutter and remember which button to push. I have tried all these tips, but most of the time the results are barely ac ceptable. At least in theory, a good selfie simply requires finesse, skill, and ex perience, but in practice it is a different matter. The playful and spontaneous act of selfie taking actually requires more skills and forethought than it seems.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"24 1","pages":"100 - 77"},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139371755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/amu.2023.a903454
R. Ornstein
Abstract:One of the most important but lesser-known figures of twentieth-century kebyar was North Balinese composer Ketut Merdana. Owing to the remote location of Kedis Kaja and the political situation in mid-twentieth-century Indonesia, his importance in developing kebyar has been largely ignored. This paper aims to affirm his position as an outstanding composer and to restore to the Balinese a vital part of their twentieth-century musical culture. The first section of this paper provides background information that is critical to understanding the musical culture of his time. The second section helps to explain how the well-known South Balinese musician Wayan Gandera was able to claim Merdana’s music as his own, “confessing” that the music was not his only near the end of his life. The last section deals with Merdana’s belated public recognition and introduces some of his compositions.
{"title":"Reclaiming the Legacy of Merdana, a Kebyar Master","authors":"R. Ornstein","doi":"10.1353/amu.2023.a903454","DOIUrl":"https://doi.org/10.1353/amu.2023.a903454","url":null,"abstract":"Abstract:One of the most important but lesser-known figures of twentieth-century kebyar was North Balinese composer Ketut Merdana. Owing to the remote location of Kedis Kaja and the political situation in mid-twentieth-century Indonesia, his importance in developing kebyar has been largely ignored. This paper aims to affirm his position as an outstanding composer and to restore to the Balinese a vital part of their twentieth-century musical culture. The first section of this paper provides background information that is critical to understanding the musical culture of his time. The second section helps to explain how the well-known South Balinese musician Wayan Gandera was able to claim Merdana’s music as his own, “confessing” that the music was not his only near the end of his life. The last section deals with Merdana’s belated public recognition and introduces some of his compositions.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"22 1","pages":"38 - 56"},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139371102","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/amu.2023.a903455
M. Nor
, the
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{"title":"Engaging Ronggeng Community—Reviving Malay Social Dance and Music Practices in the Twenty-First Century: A Keynote Address","authors":"M. Nor","doi":"10.1353/amu.2023.a903455","DOIUrl":"https://doi.org/10.1353/amu.2023.a903455","url":null,"abstract":", the","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"9 1","pages":"57 - 76"},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139371882","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Remembering My Teachers—Bruno Nettl and Sabri Khan: Society for Asian Music 2022 Keynote Address","authors":"Daniel M. Neuman","doi":"10.1353/amu.2023.0001","DOIUrl":"https://doi.org/10.1353/amu.2023.0001","url":null,"abstract":"","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"54 1","pages":"27 - 4"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49505618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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