Art Music Tradition Research Articles

Springing from the Land of Music: Hollywood's Film Music Between "Austrian" Entertainment and "German" Arts

Abstract: The article investigates how national artistic ideologies of German-ness and Austrian-ness were incorporated in Hollywood film music of the 1930s and 1940s and in the general discourse in the American press. It argues that these stereotypes were indeed important in Hollywood's marketing strategies toward the middlebrow, which emerged as a wealthy branch in America's society at the time. Among these strategies was the promotion of film music as a 'serious' art form that was historiographically grounded in a 'German' art music tradition, in contrast to 'Austrian' light musical entertainment.

The Adaptation of Violin Playing by Indigenous People in Early Twentieth-Century Western Australia and New South Wales

This article will use the European violin as a lens through which to reinterpret interactions between Aboriginal people and Europeans in twentieth-century Australia. The violin is a particularly well-respected instrument within the western art music tradition. Accordingly, the Europeans took the Indigenous embrace of the violin as evidence of successful assimilation policies and the acquisition of civility. However, the diverse and adaptable sound of the violin, combined with its construction from natural materials, aligned with Aboriginal people’s traditional and collaborative experience of music. This allowed the violin to act as a powerful means of cultural continuation and expression that was encouraged, not forbidden. The ability to adapt in the face of cultural genocide has ensured the survival of Aboriginal people and their traditions over the years since the colonists arrived and it is important to understand how Aboriginal people reacted. The article aims to contribute not only to a new understanding of the way Aboriginal people have responded to the violin, but also to how it has been understood within histories of Australia and colonization.

Intercultural creativity in the Nigerian-Igbo art music of Okechukwu Ndubuisi

ABSTRACT This article examines the influence of Western art music on the founding of an art music tradition in Nigeria. While the pioneering composers were more Western in approach and style, modern composers’ creative quests for identity and relevance for a local audience have motivated their compositional experiments through intercultural creativity, which Euba [2014. J. H. Kwabena Nketia: Bridging Musicology and Composition. A Study in Creative Musicology. Point Richmond, CA: MRI Press] conceptualised as ‘creative musicology’ or ‘intercultural musicology’. These experiments have resulted in hybrids of Western and indigenous musical features, which in this paper are put in the context of the Igbo ethnic group where Okechukwu Ndubuisi thrived in his art. Indigenous folk music ideals inspired his compositions, which he created with an intercultural approach. This paper has partly emerged from existing studies on Ndubuisi and on intercultural musicology in Africa, and opens new perspectives, for example on pedagogical and performance interculturalism and on Ndubuisi’s creative frameworks, which are omitted both in the literature on him and in other discussions of intercultural and creative musicology in Africa. The study encompasses a sociological argument, theoretical conceptualisation, and musical analysis; it therefore extends the existing scholarship in intercultural and creative musicology.

Music in Postsocialism: Three Decades in Retrospect ed. by Biljana Milanović; Melita Milin and Fanka Lajić Mihajlović

Reviewed by: Music in Postsocialism: Three Decades in Retrospect ed. by Biljana Milanović; Melita Milin and Fanka Lajić Mihajlović Richard Louis Gillies Milanović, Biljana; Milin, Melita and Mihajlović, Fanka Lajić (eds). Music in Postsocialism: Three Decades in Retrospect. Institute of Musicology, Serbian Academy of Sciences and Arts, Belgrade, 2020. xiii + 349 pp. Map. Illustrations. Music examples. Figures. Tables. Notes. References. Index. Available open access at <https://dais.sanu.ac.rs/handle/123456789/10158>. When it comes to scrutinizing and interpreting the myriad political, social and cultural shifts that attended the disintegration of the so-called ‘Eastern bloc’ and Yugoslavia during the late 1980s and 1990s, it would seem a truism [End Page 368] to point out that embracing a broad range of perspectives from representatives of the countries under consideration is essential to producing a nuanced understanding of the ‘postsocialist’ era. This recent publication from the Institute of Musicology at the Serbian Academy of Sciences and Arts (SASA) does precisely that, featuring a collection of fifteen essays by authors from Kazakhstan, Georgia, Russia, Ukraine, Lithuania, Poland, Bulgaria, Romania, Hungary, Bosnia and Herzegovina, Serbia, Croatia and Slovenia. The representation of such a range of voices is valuable in a number of ways, not least because it shifts the focus from the fall of the Berlin Wall in 1989 and the collapse of the USSR in 1991 (which typically feature as the primary signifiers of the collapse of socialism in much English-language scholarship) to other key social-political moments in central and (south-)east Europe such as the ‘Mineriads’ (Mineriadă) in Romania during the 1990s, the dissolution of the Socialist Federal Republic of Yugoslavia (SFRY) in 1992, the ensuing war in Bosnia and Herzegovina (which, as Fatima Hadžić observes, destroyed the musical as well as social infrastructure of the country, p. 174), the Siege of Sarajevo, the NATO bombings of Yugoslavia, the redistribution of power in Serbia during the early 2000s, and other such events that musicologists in Western Europe and the United States have been somewhat slower to approach (and perhaps unwilling to confront). In doing so, the volume begins to highlight the heterogeneity of ways in which the transition to ‘postsocialism’ was experienced across Central and Eastern Europe. The volume is divided into three main sections that focus respectively on continuities between past and present, the role of festivals and institutions, and developments in traditional and popular musics. Particularly deserving of mention in this last category is Anna G. Piotrowska’s chapter on the phenomenon of Slavic metal in Poland, which closes the volume with a fascinating exploration of the intersections between Slavic mythology, religion, ritual and far-right politics in the emergent metal scene in Poland during the 1990s and 2000s, making a valuable contribution to the increasingly vibrant field of metal studies in music academia. In addition to chapters such as Piotrowska’s that focus on specific genres or aesthetics, others such as those by Valentina Sandu-Dediu and Rusudan Tsurtsumia take a broader historical approach that helps to decentralize our understanding of cultural institutions and art-music traditions in (south-)east Europe during the nineteenth and twentieth centuries in countries that have been somewhat underrepresented in English-language historical musicology (in this case, Romania and Georgia respectively). One of the strongest parts of the volume is the central chapter by Jelena Janković-Beguš and Ivana Medić, which explores the ruptures and continuities in Serbian musical culture following the breakup of the SFRY through the lens of the International Review of Composers (Međunarodna tribina kompozitora) — ‘the [End Page 369] most enduring annual festival of contemporary art music in Serbia, founded in 1992’ (p. 139). The Review is described as a ‘hybrid’ of previous Yugoslav festivals, yet one that was conceived as being of importance to the (re) affirmation of Serbian national identity, whilst simultaneously being ‘a “place for escapism”, an “oasis” of beauty and “sanity” amidst the turmoil of the 1990s’ (p. 146). This suggests both a continuity with, and desire to move away from the collective Yugoslav identity of the preceding decades. Particularly resonant in this regard is an extract from Zorica Premate’s review of the festival from 1991 which characterizes postmodernism...

Engaging Multitasking Performance Ensembles Through World Music Pedagogies

In world music ensembles such as African and African Caribbean percussion ensembles, the Gamelan ensemble, and the Latin marimba ensemble, members may sing a song, play instruments, and dance simultaneously. This practice is known as music multitasking. For musicians in Western art music traditions, music multitasking can be a challenge. This article discusses four teaching strategies for helping beginning learners or musicians who are new to music multitasking ensembles. The four teaching strategies are movement and dancing, rote learning, switching performance roles, and embodying the intended aesthetic and performance practice of the music and the style.

Musical quotation in Richardson/Morlock’s Perruqueries (2013): humour as a vehicle for social commentary

Quotation, one of the most common types of borrowing, has a rich history in the western art music tradition. Composers often cite other musical works as a creative tool, resulting in intertextual relationships between two pieces. The six songs of Perruqueries (2013) for soprano, baritone, and piano, with lyrics by Bill Richardson (b. 1955) and music by Jocelyn Morlock (b. 1969), focus on wigs and people’s obsession with them. Richardson either draws from real or fictional characters to write witty lyrics about wigs, while Morlock cleverly quotes well-known music of the past, recasting famous themes in humorous contexts. Drawing on Metzer’s work on quotation as a cultural agent (2003), I argue that Richardson’s lyrics and Morlock’s setting invite the listener to engage with current discourses on the role of physical appearance in our society through humour.

Saraga: Open Datasets for Research on Indian Art Music

We introduce two large open data collections of Indian Art Music, both its Carnatic and Hindustani traditions, comprising audio from vocal concerts, editorial metadata, and time-aligned melody, rhythm, and structure annotations. Shared under Creative Commons licenses, they currently form the largest annotated data collections available for computational analysis of Indian Art Music. The collections are intended to provide audio and ground truth for several music information research tasks and large-scale data-driven analysis in musicological studies. A part of the Saraga Carnatic collection also has multitrack recordings, making it a valuable collection for research on melody extraction, source separation, automatic mixing, and performance analysis. We describe the tenets and the process of collection, annotation, and organization of the data. We provide easy access to the audio, metadata, and the annotations in the collections through an API, along with a companion website that has example scripts to facilitate access and use of the data. To sustain and grow the collections, we provide a mechanism for both the research and music community to contribute additional data and annotations to the collections. We also present applications with the collections for music education, understanding, exploration, and discovery.

Syrto Genre in Turkish Art Music Tradition and its Structural Evolution Line

Sirto, yaklaşık iki yüzyıldır Türk sanat müziği mensubu besteciler tarafından örnekleri yaratılmakta olan çalgısal bir türdür. Kültürel temaslar ve farklı gelenek gruplarının tanıdığı müzik kodları, sirto türünün Türk sanat müziği geleneğinde yerelleşmesine imkân vermiştir. Yerelleşme sürecinde sirtoların işlevlerinde ve yapısal özelliklerinde değişmeler kendini göstermiştir. Örneğin, halk bilgisi ürünü olarak yaratılmış sirtoların dans katmanı, sanat müziği geleneğinde devam etmemiştir. Dolayısıyla, müziğin dansa eşlik işleviyle ilgili yapısal özelliklerinin değişimi bağımsızlaşmış ve hız kazanmıştır. Türk sanat müziği repertuvarındaki sirtoların, bestecisi bilinen ve bestecisi bilinmeyen yani anonim örneklerine rastlanmaktadır. Anonim sirtoların sirto repertuvarı içerisindeki kayda değer sayısı, türün halk bilgisi kökenine işaret etmektedir. Bu makalenin amacı, bestecisi bilinen sirtoların değişime uğrayan yapısal özelliklerini inceleyerek tür tanımını güncellemektir. Makalenin amacı doğrultusunda belge incelemesi yoluyla değerlendirilen repertuvara ilişkin analiz verileri sayısallaştırılmış ve grafikler halinde sunulmuştur. Bu bağlamda, sirtolar belirli kavramlar ve temalar çerçevesinde bir araya getirilmiş, düzenlenmiş ve dönemlerine göre sınıflandırmıştır. Makalede; sirto başlığını taşıyan eserlerin oluşturduğu evrenin işleyişi, fenomenolojik bir yaklaşım sergilenerek çözümlenmiştir. Bu çerçevede, tür konusundaki geçmiş bilgiler tartışılmış, diğer taraftan tür özelliklerinin keşfedilmesi hususu herhangi bir ön kabul benimsenmeden gerçekleştirilmiştir. Yapılan analiz sonucunda türün güncel yapısal özellikleri, süreç boyunca muhafaza edilen yapısal özellikleri ve dönemlere ilişkin yapısal değişimlerinin nasıl çeşitlendiği hususları aydınlatılmıştır. Bu sonuçlara göre; birçok sirto tanımında bahsi geçen ve sirtoları diğer türlerden ayrıştırdığı öne sürülen düzüm tipinin kullanım sıklığının süreç içinde değiştiği gözlemlenmiştir. Ayrıca, Türk sanat müziği geleneği kapsamında sirto türünün bazı dönemlerde terk edilen ya da seyrelen yapısal özelliklerinin, süreç içinde kendilerini tekrar gösterebildikleri ortaya konmuş ve güncel yaratılarda yoğun olarak karşılaşılan özellikler çerçevesinde türün tanımı güncellenmiştir.

Mandıra Genre and Its Structural Characteristics in Turkish Art Music Tradition

Türk sanat müziği repertuvarında zeybek, sirto, longa ve mandıra gibi kökeni halk dansı ve müziklerine dayanan çalgısal türler, sanat müziği geleneği mensupları tarafından çeşitli işlevleri doğrultusunda yaratılmış ve geleneğin parçası haline gelmişlerdir. Bu araştırmada, yaklaşık bir buçuk asır önce gelenek dairesinde ilk örneğine rastlanan mandıra türü incelenmiştir. Araştırmanın amacı, mandıra türünü belirleyen yapısal özellikleri ortaya koymak ve türün kimlik işaretleyicisi özelliklerinin “oyun havası” veya “saz eseri” genellemeleri içinde zayıflamasının önüne geçmektir. Araştırmanın amacı doğrultusunda, mandıra türünde bestelenen eserlerin özelliklerini belirli kavramlar ve temalar çerçevesinde bir araya getirmek, düzenlemek ve sınıflandırabilmek üzere, içerik analizi yöntemine başvurulmuştur. Bu çerçevede yapılan analizlerde, mandıraların biçim özelliklerine ilişkin; biçim kurgusu, bölüm sayısı ve hane tasarımı inşa şekilleri değerlendirilmiştir. Mandıraların ritim özelliklerine ilişkin; usûl tipleri, ikâ tipleri ve tempo özellikleri irdelenmiştir. Mandıraların hacim özelliğine dair çıkarımlar, eserlerin cümle sayıları incelenerek yapılmıştır. Tür incelenirken yapısal simetri özellikleri de değerlendirilmiş, bu kapsamda; cümle ölçü sayısı, çatal cümle ve çatal cümlecik inşa şekilleri üzerinde durulmuştur. Tür incelemesinde makama bağlı işitsel etki değiştiricilere ilişkin özellikler ise geçki ve çeşni kullanımlarına bağlı olarak açıklanmıştır. Yapılan değerlendirmeler sonucunda elde edilen veriler, istatistik programı kullanılarak sunulmuş ve yorumlanmıştır.

Evolving Musical Sight Reading Exercises Using Expert Models.

Sight reading skills are widely considered to be crucial for all musicians. However, given that sight reading involves playing sheet music without having seen it before, once an exercise has been completed by a student it can no longer be used as a sight reading exercise for them. In this paper we present a novel evolutionary algorithm for generating musical sight reading exercises in the Western art music tradition. Using models based on expert examples, the algorithm generates material suitable for practice which is both technically appropriate and aesthetically pleasing with respect to an instrument and difficulty level. This overcomes the resource constraint in using traditional practice exercises, which are exhausted quickly by students and teachers due to their limited quantity.

ARE YOU SERIOUS? ANALYSING EXAGGERATION IN RICHARD AYRES'SNO. 37B

ABSTRACTExaggeration as a deliberate aesthetic device has seen increased popularity with composers working in the western art music tradition in the last few decades. Their music promotes a feeling of excessiveness as an intentional compositional effect, worthy of being taken seriously. This would seem to encourage the development of analytical techniques for understanding how it works, but almost by definition exaggeration tends to be resistant to analysis, its transgressive, anti-rational character appearing incompatible with the systematic approaches associated with this discipline. This article analyses the forms of exaggeration employed in Richard Ayres's orchestral pieceNo. 37b(2006) and the techniques used to achieve them, developing a framework for how we might attempt to analyse exaggeration in a manner that is rigorous but sensitive to the nature of musical exaggeration. The article finishes by making the case for how exaggeration can be interpreted as sincere as well as ironic and why deliberate exaggeration has become an appropriate and attractive device for composers in the last few decades

Geleneksel Türk Sanat Müziğinde Çalgısal Biçimler ve Türler: “Çalgısal Semâî” Üzerine Bir Tartışma

The formal aspects of traditional Turkish art music creations had been evolved throughout the centuries. On the other hand, during the evolution period the performing features and the functions of the creations changed and varied, too. As a result of those changes, the terms like peşrev and saz semâîsi (which means semâî for instruments, instrumental semâî) gained their complexions which are discussed here. In this article, brief information about the instrumental genres is given chronically based on some edvârs which are the written historical sources. Then evolution of the genre instrumental semâî is explained and its relations with a much older genre peşrev are emphasized. At this stage, I mentioned a generally accepted judgment about some specific usûls (rhythm patterns), seeing them as the essential design elements of peşrev genre. I arrive at the conclusion that significative role which is attributed to usûl is the result of a traditional composition style in a broad sense. In this frame, the determinative aspects of instrumental semâî (form, function, context and the relations of these elements) are clarified here. In connection with my discussion on instrumental semâî, the common use of form as a term instead of genre is needed to be addressed. Because the terms form and genre are important keys for music research they are also important for classifying the creations of Turkish art music tradition. As an inference, form can contribute a lot to the description of a genre indeed. But it is not the unique element determining the genre and because of this, using the term form instead of genre just produces obscurity ordinarily. As the main result of this article, all the aspects of genres can evolve or disappear, therefore it must be considered that classifications are not permanent.

Towards a Phenomenology of Musical Borrowing

In discourse on the topic, the question of what constitutes a musical ‘borrowing’, if raised at all, is usually restricted in scope and framed as one of terminology – that is, of determining the right term to characterise a particular borrowing act. In this way has arisen a welter of terms that, however expressive of nuance, have precluded evaluation of the phenomenon as such. This is in part a consequence of general disregard for the fact that to conceive of musical borrowing entails correlative concepts, all of which precondition it, yet none self-evidently. Further preclusive of clarity, the musico-analytic lens of borrowing is typically invoked only in counterpoint to a quintessentially Western aesthetic category of composition ex nihilo. As a consequence, the fundamental role played by borrowing in musical domains situated at the periphery of the Western art music tradition, specifically pre-modern polyphony and twentieth-century musique concrète, has been overlooked. This article seeks to bridge such lacunae in our understanding of musical borrowing via phenomenological investigation into its conceptual and historical foundations. A more comprehensive evaluation of musical borrowing, one capable of accounting for its diverse instantiations while simultaneously disclosing what makes all of them ‘borrowings’ in the first place, is thereby attainable.

The Peregrinations of panjgāh

One of the more durable elements in the modal repertoires of the art-music traditions of the Middle East and Central Asia, panjgāh has a recorded history going back to the beginning of the fourteenth century, and all major theoretical texts of the following centuries refer to it. Discussed here is the documentation of its emergence, diffusion and morphological development, leading to a presentation and comparison of contemporary forms from Turkey to Xinjiang, manifestly diverse but in several cases still demonstrably related.

Curriculum Development in Music Programs: The Accommodation or Cooptation by Other Cultures to Conform to the Canadian Mosaic Ideology and How These Have Been Successful or Unsuccessful

Curriculum Development in Music Programs: The Accommodation or Cooptation by Other Cultures to Conform to the Canadian Mosaic Ideology and How These Have Been Successful or Unsuccessful Anthony “Salah” Wilson Abstract The narrative begins with a historic survey of music programs in public institutions of learning in Canada. Looking at its inception, how, when and where did the music enter the schools‟ system? What are the factors, that allowed and provided for its growth and development to the present day? Was Canada‟s music derived of its own origin, or was it borrowed from another culture? Understanding Canada‟s diversity is essential to the narrative. I will examine its views on multiculturalism as this will form a background for what is to follow. However, the research and focus will be limited to the many varied systems that are in use in Toronto. This city exhibits the most in diversity in all of Canada. It also offers a healthy discussion on a wide range of practical examples in multiculturalism. The research will therefore incorporate these examples as they relate to the respective areas of cultural diversity and race relations. I will also be looking at the documentations and programs of the elementary and secondary school systems, as well as the higher institutions of learning. While understanding the diversity of cultural musical instruments and programs that exist in these institutions, it is equally important to know, when and why were they allowed into the Western Art Music (WAM) traditions. As a final case study, I will examine a specific cultural instrument‟s emergence on the academic platform, the steelpan. This instrument has been introduced to Canadian academia since the early 1970‟s. Why and how was the steelpan introduced to the public-schools‟ system? How was it sustained and developed to become an accredited program a decade after its inception? What was the impetus for the steelpan‟s continuing journey into post secondary education? After more than a decade in colleges and universities of Toronto, an examination of the types of programs offered at this level is relevant. In addition, an analysis should determine whether or not this has been a successful development of a cultural music incorporated in the Canadian mosaic. Full Text: PDF DOI: 10.15640/ijmpa.v7n1a1

A sound connection with the past: recordings of early music in screen media

When Powrie and Stilwell’s Changing tunes: the use of pre-existing music in film was published in 20051 it marked a significant contribution to the field of film music studies. It explored the use of classical and popular musics in screen media in detail for the first time, and considered the role that pre-existent music has to play in the production of films and our own cinematic experiences. Looking back at this volume more than a decade on, it is significant that extended discussions of early music, construed broadly for this essay as music composed before about 1750, are notable only by their absence. The closest we get is Jeongwon Joe’s chapter on Amadeus, which offers a thoughtful account of a film often maligned by the musicological community.2 Instead, cinematic scores are, quite understandably, situated within the context of 19th-century art music traditions. Over the last decade, the presence of early music has been felt more strongly in popular media, a phenomenon which is now beginning to be explored across the field. For example, the work of the Representations of Early Music on Stage and Screen study group, which I co-lead, has sought to interrogate the theoretical and experiential implications of using early music in stage and screen media. The recently published volume, Recomposing the past: representations of early music on stage and screen3 explores this issue in the greatest detail to date, and highlights the ways in which our sense of the musical past is shaped by music used in film, opera, television and videogame. In effect, the musical past is recomposed through such engagement, forming parallel musical histories across media. However, this essay does not intend to repeat the work presented in that volume. Instead, my aim here is to consider the extent to which the general viewing audience has a sensory connection to the musical past, and the ways in which recordings of pre-existent early music for specific filmic contexts are deployed.

La música en las &lt;em&gt;Coplas de Yosef haŝaḍic&lt;/em&gt; de Abraham Toledo (1732)

La copla sefardí de Las hazañas de José (Coplas de Yosef haŝaḍic) está formada por dos tipos de estrofas: la gran mayoría son cuartetas que narran la historia bíblica, intercaladas entre las cuales hay poesías líricas en las que se expresan emociones de los personajes u oraciones de alabanza a Dios. En las dos primeras de las cinco ediciones hoy conocidas (Constantinopla 1731-1732 y 1754-1755) esas poesías líricas están encabezadas por epígrafes que aluden a la ejecución musical original del poema de Toledo. El presente artículo es un intento de descifrar tales términos: la mayor parte se refieren a modos y ritmos de la tradición musical artística otomana, mientras que otros se refieren a la melodía de poesías religiosas hebreas bien conocidas en los círculos en los que la obra de Toledo era representada inicialmente.

‘Less a New African Music than an African New Music’: A Close Musical Analysis of Bongani Ndodana-Breen’s Emhlabeni

Premiered in February 2013, Emhlabeni (In this world) a sinfonia concertante for piano and orchestra by South African composer Bongani Ndodana-Breen, highlights the significance of African art music as a tool for understanding and appreciating the differences and similarities between diverse cultures and their music traditions. Situated in the long-established performance medium of Western art music (solo piano with traditional symphony orchestra), Emhlabeni also embraces thematic material derived from South Africa’s African choral tradition and compositional processes drawn from traditional African musicking. Here, African-styled interlocking figures, mbira patterning, pentatonic scales, uhadi chord progressions, and passages that treat the piano like an African mallet percussion instrument are interwoven with elements reminiscent of African jazz (especially Abdullah Ibrahim’s trademark tremolandi). Hence, Ndodana-Breen’s musical language is located largely in the African musical–cultural experience, although it is performed through a Western medium and formulated within the parameters of a Western genre: it represents the essence of African art music. Inspired by a popular African choral work, Bawo Thixo Somandla (‘Father God Almighty’), Ndodana-Breen chose a title that refers to a subsidiary theme in Bawo that contains the text ‘Emhlaben’ sibuthwel’ ubunzima’ (‘On this earth we bear many hardships’). An inspiring composition for those oppressed during apartheid—especially those suffering under the yoke of the brutal Ciskei homeland government, who were mere puppets in the hands of the apartheid regime—Bawo speaks of hope rather than defeatism, although it also reflects on the heavy burdens carried by ordinary citizens. This article emphasizes the artistic dialogue that transpires as Ndodana-Breen appropriates African and Western influences; the article draws attention to Emhlabeni’s political and social significance, especially the irony of a once-‘inferior’ choral work standing alongside the dominant Western art music tradition, and it provides commentary on the value of African art-music practice in a multicultural society.

Inter- Versus Intra-singer Similarity and Variation in Vocal Performances

Inter-performer deviations in pitch, timing, dynamics, and timbre can be used to model individuals’ music performance style provided that there is sufficient intra-performer similarity. If a performer’s variability in performance parameters exceeds the variability across performers it is hard to create a discriminative model between performers that can predict performer identity. This paper investigates the intra- and inter-performer consistency in singers trained in the western art music tradition using a range of pitch, timing, dynamics, and timbre descriptors. Specifically, it examines the utility of these descriptors in a singer-identity task completed both computationally by a support vector machine classifier and by human listeners and considers the broader implications for intra- and inter-performance similarity and variability in music performance modelling.

Festivalization of Music Patrol Bandulan and the Quest of Arek Bandulan Cultural Identity

Futurologist Naisbitt (1988) Said about paradox of globalization process for local tradition culture, where tradition is exposed by the strength of global capitalism and modern life style. It does not always make the tradition to be crushed, but it becomes one kind, and even disappear. However, the tradition will try to find their place and the identity back. In this article, the discussion will be focused on how Arek Bandulan answer the global challenges through festivalization (Bennett, et al., 2014 ) the art of the musical tradition of their patrol. Festivalising art patrol is hold by Karangtaruna Wira Bhakti Bandulan who has spawned a lot of innovations in the appearance of various components local art in a festival. It shows that Arek Bandulan create their original cultural identity of art music tradition which is not too modern enough and not longer traditional too. The disclosure of identity expression to the global by festivalising traditions patrol sahur weaking up music art when Ramadan is packaged as well as events in the world and is supported by funder, the media and modern technologies. This ethnographic study tries to reveal how the process of identity formation in the object of patrol sahur festival happened. Keywords: Arek Bandulan, Festivalising, Identity, Patrol Music