Pub Date : 2024-01-01DOI: 10.1353/amu.2024.a919654
Li Huan
Abstract: In the Peking opera ensemble, qinshi is the lead accompanist who plays the instrument jinghu . Traditional qinshi before the 1950s did not use notation in their performances. Few could read gongche notation. In training, they emulated melodies, memorized music, and improvised. Before the 1950s, published jinghu scores were notated in different systems. Since the establishment of the People’s Republic of China in 1949, however, the institutionalization of traditional Peking opera training has accelerated the use of scores in cipher notation. This article examines the history of different notational systems in jinghu accompaniment, the problems of notating Peking opera rhythms, and qinshi attitudes toward notation. I argue that the pursuit of standard and fixed notation not only ignores the musical characteristics of Peking opera but also stifles performance creativity. I also argue that the mismatch between reading jinghu notation and performing jinghu accompaniment calls for a restoration of aural pedagogy in addition to notation in present-day training of qinshi . 摘要: 在京剧中，京胡是其主奏乐器，琴师是指拉京胡的乐师。二十世纪上半叶，尽 管有的传统琴师能识读工尺谱（传统中国乐谱的一种），但是他们中的大多数人并不 识字，并且，在日常训练和伴奏中，他们也不会使用乐谱。口传心授是传统琴师的训 练特点，包括了大量的模仿、记忆，和即兴伴奏。五十年代之前，几乎所有的京胡乐谱 都是由票友、京剧爱好者、以及音乐专业人士记谱并出版。然而，中华人民共和国成 立之后（1949），传统琴师的训练逐渐被纳入到戏曲学校的专业教育之下，这一体系 加快了由简谱翻译的京胡乐谱的使用。在这篇文章中，作者将追溯京胡伴奏使用乐谱 （由不同记谱法记谱）的历史，分析简谱在记录京剧音乐节奏中的局限性，以及琴师 对使用乐谱伴奏的不同观点。作者提出，京胡伴奏中把伴奏乐谱当作固定的乐谱不 仅忽视了京剧音乐的特点，也扼杀了伴奏者的创作力。对京胡伴奏中使用乐谱的争议 反映出琴师在看谱伴奏和无谱伴奏之间出现的错位现象。这一错位现象也呼吁在当 代琴师的训练中应该重视口传心授和看谱伴奏的两相结合的培养模式。
Abstract: In the Peking opera ensemble, qinshi is the lead accompanist who plays the instrument jinghu . Traditional qinshi before the 1950s did not use notation in their performances. Few could read gongche notation. In training, they emulated melodies,memorized music, and improvised. Before the 1950s, published jinghu scores were notated in different systems. Since the establishment of the People’s Republic of China in 1949, however, the institutionalization of traditional Peking opera training has accelerated the use of scores incipher notation. This article examines the history of different notational systems in jinghu accompaniment, the problems of notating Peking operarhythms, and qinshi attitudes toward notation. I argue that the pursuit of standard and fixed notation not only ignores the musical characteristics ofPeking opera but also stifles performance creativity. I also argue that the mismatch between reading jinghu notation and performing jinghuaccompaniment calls for a restoration of aural pedagogy in addition to notation in present-day training of qinshi . 摘要: 在京剧中，京胡是其主奏乐器，琴师是指拉京胡的乐师。二十世纪上半叶，尽 管有的传统琴师能识读工尺谱（传统中国乐谱的一种），但是他们中的大多数人并不 识字，并且，在日常训练和伴奏中，他们也不会使用乐谱。口传心授是传统琴师的训 练特点，包括了大量的模仿、记忆，和即兴伴奏。五十年代之前，几乎所有的京胡乐谱 都是由票友、京剧爱好者、以及音乐专业人士记谱并出版。然而，中华人民共和国成 立之后（1949），传统琴师的训练逐渐被纳入到戏曲学校的专业教育之下，这一体系 加快了由简谱翻译的京胡乐谱的使用。在这篇文章中，作者将追溯京胡伴奏使用乐谱 （由不同记谱法记谱）的历史，分析简谱在记录京剧音乐节奏中的局限性，以及琴师 对使用乐谱伴奏的不同观点。作者提出，京胡伴奏中把伴奏乐谱当作固定的乐谱不 仅忽视了京剧音乐的特点，也扼杀了伴奏者的创作力。对京胡伴奏中使用乐谱的争议 反映出琴师在看谱伴奏和无谱伴奏之间出现的错位现象。这一错位现象也呼吁在当 代琴师的训练中应该重视口传心授和看谱伴奏的两相结合的培养模式。
{"title":"“You Know Nothing Except How to Read Musical Notation!”: Rethinking the Use of Notation in Jinghu Accompaniment","authors":"Li Huan","doi":"10.1353/amu.2024.a919654","DOIUrl":"https://doi.org/10.1353/amu.2024.a919654","url":null,"abstract":"Abstract: In the Peking opera ensemble, qinshi is the lead accompanist who plays the instrument jinghu . Traditional qinshi before the 1950s did not use notation in their performances. Few could read gongche notation. In training, they emulated melodies, memorized music, and improvised. Before the 1950s, published jinghu scores were notated in different systems. Since the establishment of the People’s Republic of China in 1949, however, the institutionalization of traditional Peking opera training has accelerated the use of scores in cipher notation. This article examines the history of different notational systems in jinghu accompaniment, the problems of notating Peking opera rhythms, and qinshi attitudes toward notation. I argue that the pursuit of standard and fixed notation not only ignores the musical characteristics of Peking opera but also stifles performance creativity. I also argue that the mismatch between reading jinghu notation and performing jinghu accompaniment calls for a restoration of aural pedagogy in addition to notation in present-day training of qinshi . 摘要: 在京剧中，京胡是其主奏乐器，琴师是指拉京胡的乐师。二十世纪上半叶，尽 管有的传统琴师能识读工尺谱（传统中国乐谱的一种），但是他们中的大多数人并不 识字，并且，在日常训练和伴奏中，他们也不会使用乐谱。口传心授是传统琴师的训 练特点，包括了大量的模仿、记忆，和即兴伴奏。五十年代之前，几乎所有的京胡乐谱 都是由票友、京剧爱好者、以及音乐专业人士记谱并出版。然而，中华人民共和国成 立之后（1949），传统琴师的训练逐渐被纳入到戏曲学校的专业教育之下，这一体系 加快了由简谱翻译的京胡乐谱的使用。在这篇文章中，作者将追溯京胡伴奏使用乐谱 （由不同记谱法记谱）的历史，分析简谱在记录京剧音乐节奏中的局限性，以及琴师 对使用乐谱伴奏的不同观点。作者提出，京胡伴奏中把伴奏乐谱当作固定的乐谱不 仅忽视了京剧音乐的特点，也扼杀了伴奏者的创作力。对京胡伴奏中使用乐谱的争议 反映出琴师在看谱伴奏和无谱伴奏之间出现的错位现象。这一错位现象也呼吁在当 代琴师的训练中应该重视口传心授和看谱伴奏的两相结合的培养模式。","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140523594","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 : 2024-01-01DOI: 10.1353/amu.2024.a919657
Philip Yampolsky
{"title":"Music and Recording in King Chulalongkorn’s Bangkok by James Leonard Mitchell (review)","authors":"Philip Yampolsky","doi":"10.1353/amu.2024.a919657","DOIUrl":"https://doi.org/10.1353/amu.2024.a919657","url":null,"abstract":"","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140516344","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 : 2024-01-01DOI: 10.1353/amu.2024.a919659
Devon Osamu Tipp
{"title":"Trio Getsuro: Music from Innisfree (review)","authors":"Devon Osamu Tipp","doi":"10.1353/amu.2024.a919659","DOIUrl":"https://doi.org/10.1353/amu.2024.a919659","url":null,"abstract":"","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140524546","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 : 2024-01-01DOI: 10.1353/amu.2024.a919656
Yuan-Yu Kuan
Abstract: Dunan, now known as Yonaguni Island, has a complex political history, stretching from its annexation by the Ryūkyū Kingdom in 1510 to its current marginalization as Japan’s westernmost point. Located near Taiwan, its people have faced international, national, and prenational tensions that have influenced their cultural identity as well as their music and performing arts. This article examines these tensions by focusing on the recurrence of “Miti Sunai,” one of the island’s oldest musical pieces. I propose that “Miti Sunai” serves as a sonic reflection of Dunan Indigeneity, capturing the fluctuations between historical events and contemporary shifts and narrating the island’s intricate sociopolitical stories.
{"title":"Performing Indigeneity through the Musical Piece “Miti Sunai” on Yonaguni Island, Okinawa","authors":"Yuan-Yu Kuan","doi":"10.1353/amu.2024.a919656","DOIUrl":"https://doi.org/10.1353/amu.2024.a919656","url":null,"abstract":"Abstract: Dunan, now known as Yonaguni Island, has a complex political history, stretching from its annexation by the Ryūkyū Kingdom in 1510 to its current marginalization as Japan’s westernmost point. Located near Taiwan, its people have faced international, national, and prenational tensions that have influenced their cultural identity as well as their music and performing arts. This article examines these tensions by focusing on the recurrence of “Miti Sunai,” one of the island’s oldest musical pieces. I propose that “Miti Sunai” serves as a sonic reflection of Dunan Indigeneity, capturing the fluctuations between historical events and contemporary shifts and narrating the island’s intricate sociopolitical stories.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140521101","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 : 2024-01-01DOI: 10.1353/amu.2024.a919653
Xiaoshi Wei
Abstract: This article explores the way sybyzghy cassettes are used by Kazakhs in northern Xinjiang to affirm identities shaped around nationhood, regionality, and clans. It discusses sybyzghy imagery alongside the remediating power of these cassettes, a power that informs, confirms, and diversifies the meanings of the sybyzghy repertoire, thus functioning in a “performative” way that signifies a symbolic and semiotic vision of collective memories. It contributes to the existing literature on biphonic flutes in Central and Inner Asia as well to the understanding of sound collections that feature ignored but performative notions of selfhood around sonic materiality, iconicity, and metaphor. Abstract: [inline-graphic 01i]
{"title":"Painting with Sound: Performing Cultural Memory through Kazakh Sybyzghy Cassettes in Northern Xinjiang","authors":"Xiaoshi Wei","doi":"10.1353/amu.2024.a919653","DOIUrl":"https://doi.org/10.1353/amu.2024.a919653","url":null,"abstract":"Abstract: This article explores the way sybyzghy cassettes are used by Kazakhs in northern Xinjiang to affirm identities shaped around nationhood, regionality, and clans. It discusses sybyzghy imagery alongside the remediating power of these cassettes, a power that informs, confirms, and diversifies the meanings of the sybyzghy repertoire, thus functioning in a “performative” way that signifies a symbolic and semiotic vision of collective memories. It contributes to the existing literature on biphonic flutes in Central and Inner Asia as well to the understanding of sound collections that feature ignored but performative notions of selfhood around sonic materiality, iconicity, and metaphor. Abstract: [inline-graphic 01i]","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140521877","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 : 2024-01-01DOI: 10.1353/amu.2024.a919655
Ilsa Xiaoshan Yin
Abstract: Visual elements have always been an integral concern in performance of the Chinese seven-string zither guqin , as seen in both early records and contemporary practice. Since the mid-2010s, a neo-traditional guqin performance group, Zi De Qinshe ( Zi De meaning “enjoy oneself”; Qinshe meaning “guqin studio”), has been a leader in a cultural trend known as guofeng (Chinese style) and guochao (China chic) with their viral online videos and live performances featuring stage settings, clothing, and makeup that re-create paintings and other visual images from past centuries. In this essay, I focus on Zi De Qinshe as a case study based on fieldwork with the group and their audiences as well as analysis of their performances. I explore how and why contemporary Chinese musicians reinterpret and reimagine the past through visuality in performance, how they negotiate the old and the new, and how a neo-tradition and a neo-cultural identity are being constructed in this process. 摘要: 无论是在历史文献还是当代实践中，视觉元素一直是古琴演奏的题中之义。自2010 年代中期以来，新传统古琴表演团体自得琴社以其火爆的网络视频和现场表演，成 为当代“国风”/“国潮”文化潮流的引领者。他们的舞台布置、服饰及妆容复原了古 代绘画或其它史料中的视觉元素。在本文中，笔者以自得琴社为研究案例，基于对琴 社及其受众的田野考察，以及对他们表演作品的分析，探讨当代中国音乐人如何及 为何通过表演中的视觉性对过去进行重新解读和构想，探讨他们如何在新旧之间权 衡，以及在此过程中新的传统和文化身份是如何构建起来的。
{"title":"Reimagining the Past in the Construction of the Present: Visuality in Neo-traditional Guqin Performances in Twenty-First-Century China","authors":"Ilsa Xiaoshan Yin","doi":"10.1353/amu.2024.a919655","DOIUrl":"https://doi.org/10.1353/amu.2024.a919655","url":null,"abstract":"Abstract: Visual elements have always been an integral concern in performance of the Chinese seven-string zither guqin , as seen in both early records and contemporary practice. Since the mid-2010s, a neo-traditional guqin performance group, Zi De Qinshe ( Zi De meaning “enjoy oneself”; Qinshe meaning “guqin studio”), has been a leader in a cultural trend known as guofeng (Chinese style) and guochao (China chic) with their viral online videos and live performances featuring stage settings, clothing, and makeup that re-create paintings and other visual images from past centuries. In this essay, I focus on Zi De Qinshe as a case study based on fieldwork with the group and their audiences as well as analysis of their performances. I explore how and why contemporary Chinese musicians reinterpret and reimagine the past through visuality in performance, how they negotiate the old and the new, and how a neo-tradition and a neo-cultural identity are being constructed in this process. 摘要: 无论是在历史文献还是当代实践中，视觉元素一直是古琴演奏的题中之义。自2010 年代中期以来，新传统古琴表演团体自得琴社以其火爆的网络视频和现场表演，成 为当代“国风”/“国潮”文化潮流的引领者。他们的舞台布置、服饰及妆容复原了古 代绘画或其它史料中的视觉元素。在本文中，笔者以自得琴社为研究案例，基于对琴 社及其受众的田野考察，以及对他们表演作品的分析，探讨当代中国音乐人如何及 为何通过表演中的视觉性对过去进行重新解读和构想，探讨他们如何在新旧之间权 衡，以及在此过程中新的传统和文化身份是如何构建起来的。","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140527129","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.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":null,"pages":null},"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":null,"pages":null},"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.
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