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MUSIC OF INDONESIA

MUSIC OF INDONESIA. COURSE STRUCTURE INTRODUCTION January 18 Introduction January 20 Indonesia – An overview January 25 Java, Bali, Sumatra. MUSIC OF INDONESIA. COURSE STRUCTURE JAVA January 27 Gamelan – An introduction February 1 Musical instruments

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MUSIC OF INDONESIA

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  1. MUSIC OF INDONESIA • COURSE STRUCTURE • INTRODUCTION • January 18 Introduction • January 20 Indonesia – An overview • January 25 Java, Bali, Sumatra

  2. MUSIC OF INDONESIA • COURSE STRUCTURE • JAVA • January 27 Gamelan – An introduction • February 1 Musical instruments • February 3 Gamelan – Basic principles • February 8 Repertoires and formal structures • February 10 Gamelan aesthetics • February 15 Music, dance, theater • February 17 Wayang purwa • February 22 Gamelan in practice • February 24 mock exam • March 1 exam

  3. MUSIC OF INDONESIA • COURSE STRUCTURE • BALI • March 3 Video: “The three worlds of Bali” • March 8 Basic principles • March 10 Wayang • March 11 Wayang Bali. Performance by Larry Reed • March 22 Gong kebyar • March 24 Topeng and Legong • March 29 Video: “Bali beyond the postcard” • March 31 exam • e

  4. MUSIC OF INDONESIA • COURSE STRUCTURE • SUMATRA • April 5 Minangkbau culture • April 7 Talempong • April 12 Saluang jo dendang • April 14 Randai • April 19 Islamic music • April 21 Batak Toba culture and music • April 26 no class • April 28 Melayu culture and music • May 3 Mock exam • May 5 Discussion of exam • May 13 Final exam

  5. SUMATRA18. Minangkabau culture

  6. SUMATRA18. Minangkabau culture • Key aspects: • Adat (tradition) and Islam • Matrilinearity/matrifocality • Islam and modernity

  7. SUMATRA18. Minangkabau culture Key elements of adat • Nagari (village) • Suku (Clan) Key elements of Islam • Universalism • Individual Rumah gendang

  8. SUMATRA18. Minangkabau culture • Adat (tradition) and Islam • The image on the top right is of a mosque near Padangpanjang; the one below of the mosque in Koto Baru. What does the architectural style of these two mosques suggest about the place of Islam in Minang?

  9. SUMATRA18. Minangkabau culture • Matrilinearity/matrifocality

  10. SUMATRA18. Minangkabau culture • Islam and modernity • Western-style education • Rantau (migration)

  11. SUMATRA18. Minangkabau culture • What is the relationship between Islam and adat? Has it always been the same? What are the social forces that have shaped this relationship over time? • Does the strong matrifocal character of Minangkabau society mean that women are “in charge?” • How do Islam and modernity relate to each other?

  12. Assignment for Next Class •  Hanefi: Traditional Minangkabau Music •  “Sumatra”

  13. SUMATRA19. Minangkabau music: talempong • Hanefi: “Traditional Minangkabau Music” • Music and adat • Orality (kaba) • Morality (“how a young man or woman should behave”) • Locality (nagari) • Islam (?) • Musical instruments • Regions • Heartland (darek) • Coast (pasisir)

  14. SUMATRA19. Minangkabau music: talempong • Talempong duduak • Talempong pacik

  15. SUMATRA19. Minangkabau music: talempong • Talempong duduak • 29. “Talempoang Payakumbuah”

  16. SUMATRA19. Minangkabau music: talempong • Talempong pacik

  17. SUMATRA19. Minangkabau music: talempong • Instruments • Talempong • Gandang • Pupuik batang padi (or pupuik tanduak) • (Agueng)

  18. SUMATRA19. Minangkabau music: talempong • Structure • Labuan • O O O • O O O • anak induek paningkah

  19. SUMATRA19. Minangkabau music: talempong • Local variations • Nagari Pariangan (Kbp. Tanah Datar) After B.Arifin Adam: Talempong. Musik tradisi Minangkabau

  20. SUMATRA19. Minangkabau music: talempong • Local variations • Nagari Padang Magek (Kbp. Tanah Datar) After B.Arifin Adam: Talempong. Musik tradisi Minangkabau

  21. SUMATRA19. Minangkabau music: talempong • Interlocking • Bakacimang (“harmony, agreement”) • “Uneconomic”

  22. SUMATRA19. Minangkabau music: talempong • Adat • Talempong is played for adat ceremonies (e.g. at inauguration of village elder) • Women • Talempong was traditionally played by women • Rice • Talempong is said to imitate the sound of rice-pounding

  23. SUMATRA19. Minangkabau music: talempong • Talempong • Three worlds?

  24. SUMATRA19. Minangkabau music: talempong • What does the photograph on the previous slide suggest? • How is the notion of nagari expressed in talempong music? • What view does Islam take of talempong music?

  25. SUMATRA20. Saluang jo dendang • Saluang (flute) • Dendang (Song)

  26. SUMATRA20. Saluang jo dendang • Saluang (end-blown/rim-blown oblique flute) • Pentatonic (four holes) • Circular breathing • Vibrato • Embouchure • 30. Abdul-Rahman Canduang Basamarajo (top left): • “Indang Toboh” (The Drum at Toboh)

  27. SUMATRA20. Saluang jo dendang • Song types • Ratok (Lament) • Gembirah (Happy) • Setengah gembira (Semi-happy) • porno (Bawdy) • Lagu asal (Song of place/origin)

  28. SUMATRA20. Saluang jo dendang • Bagurau (amusement) • Competition • Individualism/nagari Suborang Botuang

  29. SUMATRA20. Saluang jo dendang • Pantun • Stanza of two segments consisting of equal numbers of lines (e.g. 2 + 2) • 8 or 9 syllables per line • End-rhyme in corresponding lines • First segment alludes to nagari • Second segment about human experience or life of singer • Tinggi nagari Koto Tuo • Di mudiak kampuang rang Pambatan • Nan lah acok hati taibo • Tagak dek iman bataguahkan

  30. SUMATRA20. Saluang jo dendang • Pantun • “Ratok Koto Tuo” Tinggi nagari Koto Tuo Koto Tuo is up in the hills Di mudiak kampuang rang Pambatan Higher up than Pambatan Nan lah acok hati taibo Often my heart is sad Tagak dek iman bataguahkan But my faith is strenghtened

  31. SUMATRA20. Saluang jo dendang • Pantun • 31. “Ratok Koto Tuo” Kok indak diujak ribuik It takes a typhoon Alun pandan den kabadarak To destroy a pandanus tree Nan kok indak dek bansaik induik It takes poverty Alun badan den kamarasai To make life so miserable

  32. SUMATRA20. Saluang jo dendang • Pantun (sound or meaning?) • “The relation in meaning between the two halves is often obscure, and in many cases it seems that the connection is less one of sense than of sound, with the first half foreshadowing the second in rhyme.” • (Hanefi and Philip Yampolsky: Night Music of West Sumatra) Kok indak diujak ribuik It takes a typhoon Alun pandan den kabadarak To destroy a pandanus tree Nan kok indak dek bansaik induik It takes poverty Alun badan den kamarasai To make life so miserable

  33. SUMATRA20. Saluang jo dendang • How important is meaning in pantun? • What role do alliteration and rhyme play in the lyrics of saluang jo dendang songs? • How is saluang jo dendang interconnected with the idea of nagari?

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