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":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":"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":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":"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":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":"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":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":"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
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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":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":"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}
Pub Date : 2023-06-01DOI: 10.1353/amu.2023.a903461
Devon Osamu Tipp
{"title":"Marty Regan: Selected Works for Japanese Instruments. Vol. 4, Lost Mountains, Quiet Valleys (review)","authors":"Devon Osamu Tipp","doi":"10.1353/amu.2023.a903461","DOIUrl":"https://doi.org/10.1353/amu.2023.a903461","url":null,"abstract":"","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":"139371265","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":null,"pages":null},"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}
Abstract:Toshio Hosokawa’s The Maiden from the Sea, based on the noh drama Futari Shizuka, is an innovative opera that culminates unusually in a voiceless performance of noh dance. Considering this moment from the dual perspective of contemporary authored music and traditional noh choreography, this article shows that, in the dance, the opera paradoxically distances itself from its noh source play while simultaneously approximating the multidisciplinarity of noh performance itself. I analyze the dance in filmed performances by Ryoko Aoki, the noh shite (principal actor) for whom the opera was written, to address the range of factors beyond music and choreography that are engaged in transposing the “total” art of noh performance into the “synthetic” context of opera performance.
{"title":"Staging Noh Performance in Contemporary Opera: The Dance of the Shite in Toshio Hosokawa’s The Maiden from the Sea (2017)","authors":"Paulo Brito","doi":"10.1353/amu.2023.0004","DOIUrl":"https://doi.org/10.1353/amu.2023.0004","url":null,"abstract":"Abstract:Toshio Hosokawa’s The Maiden from the Sea, based on the noh drama Futari Shizuka, is an innovative opera that culminates unusually in a voiceless performance of noh dance. Considering this moment from the dual perspective of contemporary authored music and traditional noh choreography, this article shows that, in the dance, the opera paradoxically distances itself from its noh source play while simultaneously approximating the multidisciplinarity of noh performance itself. I analyze the dance in filmed performances by Ryoko Aoki, the noh shite (principal actor) for whom the opera was written, to address the range of factors beyond music and choreography that are engaged in transposing the “total” art of noh performance into the “synthetic” context of opera performance.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43809038","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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