Ethnomusicological Approach Research Articles

Musical Instruments as Scriptive Things: Instrument-Body Interactions & Racial Play in the Brazilian Music Scene in Austin, Texas

ABSTRACT This article views musical instruments in the Brazilian music scene of Austin, Texas as scriptive things (Bernstein 2009) —material objects that “assert” themselves by demanding specific human interactions. This perspective offers a means to examine how racialized ideas come to be learned and embodied via particular subject-object relations. I argue that white Americans’ engagement in the scene often constitutes a form of racial drag or play, wherein ideas about—and the boundaries of—blackness and whiteness are ultimately reified. This article contributes to the broad scope and intersectionality of organology by merging Performance Studies and Ethnomusicological approaches to racial formation.

Decoloniality and Russian Music: Finno-Ugric Legacies in Contemporary St. Petersburg

This article presents two case studies examining the musical groups Talomerkit and Ingervala in the context of the late Soviet and post-Soviet reawakening of Finno-Ugric culture in St. Petersburg, Russia. Coming from different ethnic backgrounds, these two groups demonstrate different ways of engaging with local Finno-Ugric traditions. While Talomerkit uses a so-called tradition-based approach with minimal alteration of primary material, Ingervala looks for alternative stylistic choices through electric instruments and electronic sounds. Based on my fieldwork done in June 2018 and May 2019, I present ethnographic observations about Talomerkit and Ingervala’s musical activities and focus on issues related to the repatriation of Finno-Ugric musical heritage to a local community in St. Petersburg after the interruption of these traditional musical practices during the Soviet period. By using ethnomusicological approaches of decolonization, my aim is to foreground the voices of artists and activists who engage with the legacy of a small, non-Slavic Finno-Ugric population indigenous to the lands of present-day St. Petersburg and Leningrad Oblast. I argue that those autochthonous perspectives are instrumental in challenging the cultural discourse in Anglophone Russian music studies, which predominantly focuses on musical knowledge production through the lens of the Slavic population.

Study Deskriptif Pembuatan Sunai Pondok Kandang Muko Muko Provinsi Bengkulu

This research focuses on the traditional musical instrument called Sunai, which is a wind and melodic instrument made from telang Kapa bamboo. The study aims to explore the organology of Sunai, including the manufacturing concepts, materials, processes, and sound production techniques. A qualitative research method with an ethnomusicological approach was employed.The research reveals that Sunai making involves several stages, such as material selection, drying, cutting, and creating tone holes according to the artist's preferences. Sunai is classified as an aerophone instrument, producing sound through the air. The instrument is commonly played during public events like weddings and the annual Gandai Dance, typically performed at night after the Isha prayer and concluding before dawn. This study specifically examines Mr. Ma'rup's unique technique in making Sunai, which differentiates his instruments from those made by other artisans. The findings highlight the distinctive characteristics of Mr. Ma'rup's Sunai. The research findings contribute to a deeper understanding of Sunai as a traditional musical instrument and its significance in the cultural heritage of Bengkulu.

Analisis Bentuk Lagu Nyanyian Penanian Dolo Berjudul �Allo Lendu� Bulan Lendu��

This research was conducted to analyze the structure of the song entitled "Allo Lendu' Bulan Lendu'" which is part of the Penanian dolo song in Gandangbatu Sillanan Toraja at death ceremonies which is starting to fade because of the new songs in Church services. Researchers used a qualitative research method with an ethnomusicological approach. Based on the results of data analysis, it was found that the song "Allo Lendu' Bulan Lendu'" has a similar melody to the Song of the Congregation No. 331 entitled �Day, Night, Season, Year�. The form is in the form of two parts of sentences A and B, so that the pattern is AB=A(a, ??a') B(b,a'). The motif is relatively simple and full of repetition, as can be seen from each melody form which literally repeats the motif from the melody theme.

Langgam Makassar: the adaptation of keroncong to local music in Makassar

The musical landscape of Makassar features a unique variant of keroncong known as "Langgam Makassar." Faced with limited references to keroncong before Indonesia's independence, musicians in Makassar encountered a dilemma that prompted inventive solutions in the development of keroncong. This led to the emergence of Langgam Makassar as a distinct variant, undergoing a process of adaptation to the local music scene. The research aims to illustrate and explore key aspects of Langgam Makassar, encompassing musicological, historical, and societal dimensions. The methodology employed in this study is an ethnomusicological approach involving direct observation of Langgam Makassar practices and performances. The findings were validated through interviews with Langgam Makassar musicians, recordings, and document analysis. This method offers an understanding of music within its societal context, exploring the reasons why keroncong in Makassar diverges and evolves into Langgam Makassar. The results demonstrate that Langgam Makassar is a product of the creativity of Makassar musicians who, despite limitations, successfully developed keroncong by incorporating elements from local musical traditions such as kelong, parambang, and losquin. These efforts contribute to the distinctive features of Langgam Makassar, establishing it as a novel variant of keroncong.

일본에서의 한국음악학의 전개 양상과 연구 성과 -1945년 이후를 중심으로-

This article examines the Korean musicology, developed in Japan since
 1945, by period and the the results by field.
 During the Japanese colonial period, Japanese research on Korean music
 was actively conducted in relation to the ruling policy of the Japanese
 Government-General of Korea, but after the defeat in World War II, research
 on Korean music decreased significantly. Therefore, the period from 1945 to
 1965 can be called the ‘gap period’ of the Korean musicology in Japan.
 In the 1970s, as Ethnomusicology grew significantly in Japan, Korean music
 research was conducted as part of it. Master's and doctoral theses on Korean
 music were published, related research also surged, and the Goryeoak
 yeonguhoe (Komagaku Research Society) was established (1976) beginning
 regular academic exchanges between scholars from the two countries.
 Therefore, the period from 1966 to the 1970s can be called the growth
 period of the Korean musicology in Japan.
 In the 1980s, in-depth research was conducted through long-term fieldwork
 and study abroad, and the number of studies increased significantly due to
 academic activities of various generations. Two research books, Song of
 Arirang and the Study of Sound were published, and six articles on Korean
 music were included in a collection related to Asian music, strengthening the
 status of Korean music research in Japan. In addition, high-quality academic
 exchanges between music scholars from both countries continued by the
 Komagaku Research Society. Therefore, the 1980s can be called the
 establishment period of the Korean musicology in Japan.
 The 1990s was a time when the research field expanded significantly, and
 research results came out in all fields except court music. In particular, it is noteworthy that research on the history of music during the Joseon Dynasty
 and modern music began. Although the number of studies has decreased
 compared to before, in terms of diversity in research, it can be said that the
 Korean musicology has entered a stable period during this period.
 In the 2000s, the number of studies decreased even more than before. This
 is because academic activities were centered around the third-generation
 researchers. Therefore, this period can be viewed as a stagnation period or
 period of generational change in the Korean musicology in Japan. It is
 noteworthy that while there was no articles on folk songs and instruments
 that had been studied steadily before, modern music history increased
 dramatically (12 articles) compared to the previous period (1 article).
 Since 2010, research results have increased significantly, the number of
 researchers has increased, and the publications in Korean journals (in Korean)
 have increased, marking a period of significant quantitative and qualitative
 development in Korean music research. Therefore, this can be called the
 prosperity period of the Korean musicology in Japan.
 It has been confirmed that Korean music research has been conducted in
 all fields in Japan since 1945. A total of 190 studies were conducted, with the
 most popular field being folk music (53), followed by music history (49) and
 musical instruments (32), followed by general theory (17), music style (14),
 music exchange (11), royal music (6), and etc (8). This is in contrast to the
 intensive publication of articles on court music in Japanese colonial period.
 The reason why so many studies on folk music seems to be the result of
 active research using ethnomusicological approach to collecting data through
 fieldwork while the reason why the study of modern music history has
 increased rapidly since 2000 may be because of interest in the special
 situation of the Japanese colonial period and materials written in Japanese in
 this period, which easily accessible to Japanese researchers.

Die Fachgruppe „Musikethnologie und vergleichende Musikwissenschaft“ in der Gesellschaft für Musikforschung


 
 
 This article gives a brief insight into the work of the study group “Ethnomusicology and Comparative Musicology” of the “Gesellschaft für Musikforschung” (GfM). It spotlights central issues, historical moments and developments in the past, and more recent activities of the study group. The first part roughly outlines cornerstones from its founding stages in the post-WWII years, when traditional views of “Völkerkunde” prevailed, to the paradigm shifts of the 1980s and 1990s, as comparative musicology gradually shifted towards ethnomusicological approaches grounded in cultural and social anthropology. The second part highlights the study group’s self-reflexive perspective and its recent engagement with topics such as diversity, anti-racism, and (post-)coloniality in the academic field. Drawing on issues discussed in the context of the “crisis of ethnographic representation,” recent debates and activities in the group are driven by ethical and political discussions regarding the power imbalances that shape ethnomusicological methodologies, practices and discourses within and beyond academia, and are thus closely tied to larger questions of social justice, equity, and inclusion.
 
 

System of Inheritance as a Preservation Effort of Kuriding In South Kalimantan

This research generally aims to look at the inheritance system as an effort to preserve kuriding music in South Kalimantan. The method used is a qualitative method with an ethnomusicological approach, namely kuriding instrument craftsmen, academics, and the community in South Kalimantan. The main data collection tool in this study is the researcher himself as the key instrument. Based on the results of research on inheritance systems (1) History, (2) Concept of Inheritance, (3) Performance Presentation, (4) How to Play, and (5) Conservative Ideological Values. The research is expected to provide knowledge about South Kalimantan kuriding music to the community as the owner of the art.

Unveiling the melodic traditions of Mahzani: an ethnomusicological investigation of Tombulu music in Indonesia's Minahasa region

This research explores the Mahzani ethnic music tradition, which holds significance among the Tombulu sub-ethnic group of the Minahasa region. As an expression of their cultural identity, Mahzani encapsulates the richness of Tombulu music, encompassing artistic diversity, spiritual values, and the philosophy of life cherished by the Tombulu people. The aim of this study is to analyze the distinctive musical elements that contribute to the unique atmosphere of the Mahzani tradition. This study uses an ethnomusicological approach. This approach collects and analyzes data, namely the melodies of traditional Mahzani music in the cultural context of the Tombulu people as the owners of the music. The ethnomusicological analysis is carried out by analyzing the physical and non-physical forms of Mahzani music to reveal its melodic richness and its aesthetic and philosophical meanings. This comprehensive approach ensures a thorough examination of the musical elements and their cultural implications within the context of the Mahzani tradition. In the end, the result of this research is that the combination of poetry and melody in a single unit of Mahzani's expression at the time has unveiled a unique and mystical atmosphere. At this level, the Tombulu people believe that music has vibrations that are connected to nature and the creator. Music is no longer just a medium for expressing itself, but it is the intention of the expression of human life in relation to their living environment.

Using Cohorts and Podcasts for Learning Global Music

The aim of this autoethnographic account follows the journey of an instructor’s pedagogical shifts to illustrate the importance of engaged learning. Even for music majors, examining and understanding cultural concepts outside of Western traditions is challenging. Studying global music-cultures requires, at minimum, a patchwork of basic knowledge of a culture’s musical practice, geography, political structure, history, and religion or belief systems. These challenges can stalemate learning resulting in either a teacher who teaches with an ethnomusicological approach beyond students’ abilities or a broad survey course void of academic rigor that leaves students occupied with dreaded busy work. To sidestep these seemingly unavoidable pathways, the author developed a student-focused learning approach to exploring world music through engaging and creative projects for a better learning experience. Questions raised include the validity of traditional training in music school, challenging the notion of lecturing from a textbook, and seeking to collect data to better understand how deeply students are engaged in cooperative learning.

Form of Presentation of Ranup Lampuan Dance Music in the Intat Linto Procession in Banda Aceh City

This study aims to reveal the form of presentation of ranup lampuan dance music in the intat linto baroe procession in the city of Banda Aceh. Ranup Lampuan dance music is music that is used to accompany the Ranup Lampuan dance in the procession of welcoming guests in Acehnese society. This study used a qualitative research method, a descriptive research type with an ethnomusicological approach. The results of this study reveal that the music of the ranup lampuan dance in the city of Banda Aceh is presented in several traditional events such as the intat linto procession which contains social values in the community, in the intat linto event the musicians in ranup lampuan have two roles, namely; as musicians from the guest party escorting the Linto group and as musicians for the host party (dara baroe) to accompany the ranup lamp dance. The presentation of Ranup Lampuan dance music has supporting elements, namely: Musicians, musical instruments, costumes or clothing, venues, and notations.

PERAN MUSIK EREEKNG DALAM RITUAL BELIATN KENYONG SUKU DAYAK TONYOOI

This study reveals the role of ereekng music in the ritual of Beliatn Kenyong of the Dayak Tonyooi community in Kutai Barat Regency, Kalimantan Timur. The problem that will be described in this paper is to question the role of ereekng music in implementing the ritual ceremony of Beliatn Kenyong. In answering these problems, this study uses an ethnomusicological approach that is supported by theories and concepts of the role of music in traditional community culture. This qualitative research uses interviews, observation, documentation, and literature studies.This study concludes that the cultural customs of the Tonyooi people generally indicate how the balance of the relationship between humans, nature, and God must always be maintained. If the relationship becomes unbalanced, where one of the people violates customary rules, there will be an impact; namely, that person will experience illness. Through the illness that the person feels, the Beliatn Kenyong ritual and all its accessories, including ereekng music, will be carried out. In general, the Beliatn Kenyong ritual is also a sign of the importance of maintaining the balance of the relationship between humans, nature, and God, and specifically, the process of carrying out the concept of balance is symbolized in the presentation of ereekng music and its very significant role in the implementation of the Beliatn Kenyong ritual.

Karinding: Dari Ungkapan Hati Menjadi Karya Seni (Sebuah Tinjauan Etnomusikologi)

Karinding is a traditional West Javanese musical instrument made of bamboo. Now the existence of these traditional musical instruments has started to bloom again being preserved by young people. By using a descriptive analytic method through an ethnomusicological approach, literature study techniques, and observation, this study aims to describe aspects of function, musical, instruments, and support. The results of this study include four things. First, in the aspect of Karinding function experienced significant changes. Starting from a communication tool until now it has changed its function as a medium of entertainment, education, and commodities. Second, in terms of musical Karinding is experiencing development, Karinding buhun, which at first only could imitate the sound and rhythm of insects and tools around the community, has developed with the type of Karinding toél which has diatonic and pentatonic scales. Third, this Karinding musical instrument is divided into three parts namely pancepengan, cécét ucing, and paneunggeul. These three parts of Karinding have their own philosophical values ​​which are closely related to the beliefs of the Sundanese people. Fourth, the Karinding Attack community and the Karinding Group in Cirama Girang Village have become one of the activist communities in preserving the traditional arts of Karinding in West Java. From this study it can be concluded that Karinding is a musical instrument that was born from folklore which has a life learning philosophy to become a patient, confident and simple human being. This musical instrument has undergone revitalization to become a traditional musical performance. In addition, the Karinding art, which was declared almost extinct, has now been revived and is in great demand, especially by young people.

Bentuk Penyajian dan Fungsi Musik Jonggan di Desa Bebatung Kecamatan Mandor Kabupaten Landak

This research is motivated by the lack of written documentation so that references to the Form of Presentation and Function of Jonggan Music in Bebatung Village, Mandor District, Landak Regency need to be researched. The purpose of this study is to describe the form of presentation of Jonggan music in Bebatung village, Mandor district, Landak district and to describe the function of Jonggan music in Bebatung village, Mandor district, Landak district. The method in this research is descriptive method with the form of qualitative research and ethnomusicological approach. Data collection techniques in the form of observation, interviews and documentation studies. The technique of testing the validity of the data used is the extension of observations and triangulation of sources. Based on data analysis, it can be concluded that the form of presentation and function of Jonggan's music in Bebatung Village, Mandor District, Landak Regency is traditional music with the form of presenting music being played together or in an ensemble. The players consist of one Agukng (Gong) player, two Dau (Kenong) players, one Tuma (Ketubung) player and one Solekng (Flute) player. The function of Jonggan Music in Bebatung Village, Mandor District, Landak Regency has a function as (1) As accompaniment music, (2) entertainment facilities, (3) as social facilities (4) as economic facilities (5) as a means of communication (6) as a means of education.

Kajian Pertunjukan Musik “Thungka” dalam Tinjauan Etnomusikologi

The purpose of the study was to find an ethnomusicological study and to find out everything contained in the Thungka musical instrument, whether it was in the form of functional, musical, instrumental and socio-cultural aspects. The research method is a qualitative descriptive method with an ethnomusicological approach. Sources of data used in this study were video recordings of the performance of the traditional performing arts of Thungka music by the people of Bawean Gresik, as well as interviews, documentation, and literature studies. The results showed that basically Thungka had a function as a rice pounder in the annual harvest season, but now it has become a medium for traditional art performances, weddings, to welcoming tourist guests to Bawean. Thungka traditional music describes the socio-cultural life of the Bawean people, especially the gratitude of the farmers and in the lyrics also tells the feeling of waiting and longing. The conclusion of this research is that the dynamics used when playing Thungka traditional musical instruments are forte and fortisisimo. Alu' and Ronjengan from traditional musical instruments Thungka made of teak. The way of making it using original human power by using chisels and crab bolsters in the way of making musical instruments.
 
 Keywords: Bawean, Ethnomusicology, Thungka Music

SISTEM PELARASAN PADA DUA PERANGKAT GAMELAN JAWA DI DESA PLANGKRONGAN MAGETAN

Javanese gamelan music is an integral part of society 's lives in Plangkrongan Villag e, Poncol, Magetan, but musical data records on tuning have never existed. Musical data records can be used as an archipelagic strategy for today's millennial generation to introduce the sound heritage of the archipelago's civilization to the next generation. Therefore, this study aims to determine: 1) knowing the tuning system, and 2) the embat used on several gamelan devices in the village. This study uses an ethnomusicological approach. The methods used include: 1) interviews and measurements; 2) comparative analysis and inductive inference; and 3) narrative descriptions with pictures and tables. This study collects musical data such as the tone, range, and embat systems of the gamelan Nugroho Mulyo and Gong Mbarang belonging to two well-known artists in Plangkrongan Village. Based on the data, it can be concluded that: 1) Gamelan is tuned in one gembyang from low nem to high nem; 2) Gamelan is tuned in the middle register so that it is easy to voice and listen; 3) The pelog barrel has the longest range of 486 cents, while the shortest range is 99 cents. While the slendro barrel has the longest range of approximately 310 cents, the average range is between 243 to 260 cents and the shortest range is 206 cents; and 4) The term structure states that the embat used is Sundari embat so as to produce a complete musical sense. This musical data record can be an important archive for ethnomusicologists, musicians and musicians, and observers of musical art in the archipelago in general and in Magetan in particular.

Centring embodied practice in African music studies: creative alternatives

ABSTRACT The two recent doctoral projects compared in this essay explore the affordances of centring the authors’ respective musical practices against the backdrop of the ongoing quest for African (ethno)musicological approaches. Foregrounding the life-long embodied perspectives of the authors as musicians/dancers, they report on seeking out less canonised disciplinary reference points on which to ground these understandings, and share the approaches found to be conducive (viz., creative systems theory and creative musicology). Despite attending to different practice registers and repertoires (musical arrangements within African hymnody compared with art music composition derived from traditional dance principles), they demonstrate how starting from, and centring, their respective practices has allowed local specificity to bring distinctive, new insights to their research in ways that may be of interest to a wider academic community.

Hadrah Ishari Art: Ethnomusicological Study At Sirojul Huda Islamic Boarding School In Purwosari Pasuruan Regency

This research aims to analyze the ethnomusicological study of hadrah ishari musical art. The type of research used is descriptive qualitative with an ethnomusicological approach. The data collection techniques are through observation, interviews, and documentation. Interviews were done with an informant who is competent in the art of hadrah ishari is Ichwan Mu'jizat. The data analysis steps are data reduction, presentation, and conclusions. The data validity was obtained through triangulation techniques of data sources and techniques.
 The results of the study show history, the form of presentation of this hadrah music consists of the introduction, the core, and the final presentation. The elements that make hadrah ishari music consist of tempos, rhythm, expressions, dynamics, and tone scales, while the elements that make the vocals of hadrah music are articulation, respiration, intonation, and tones. The movement of the head and hands also has a deep meaning about the symbol writing of Allah SWT and Muhammad SAW. The function of hadrah ishati itself has developed from the beginning for da'wah media, now it has begun to develop into entertainment, communication, commercial and creative media. Based on the results of the research, it is hoped that there are further researches and they can improve the results of the research, especially in the ethnomusicology study of the hadrah musical art.
 Keywords : History, Presentation Form, Elements of Music, Functions of Music

"Raus aus dem Elfenbeinturm!"

The Tao are one of sixteen recognized indigenous groups in Taiwan who live on Ponso no Tao, which literally means "the island of human-beings". Since the 1950s, many policies by the Taiwanese government have aimed to support "development" and "modernization" of ethnic minorities. As a consequence the Tao veered away from their traditional religion and cultural practices, for example by using the economic and monetary system imposed by Taiwan since 1967, and in 1971 the island was opened for tourism. These lifestyle changes resulted in a loss of traditional vocal music as well as the knowledge of history, views of life and taboos which had traditionally been transmitted through song. In 1980, an "intermediate deposit" for weak radioactive waste was established on the island through close cooperation and fraudulent practices between the Taiwan Power Company and the government. In 2009, radioactive substances were found outside of the dumpsite on Orchid Island. This article evaluates the social and political implications of two applied ethnomusicological projects developed together with the indigenous group of the Tao. These are the concert project "SoundScape - Island of Human Beings" (2014), which brought together Austrian, Taiwanese and Tao performers and composers, and the dance theatre production Maataw - The Floating lsland (2016) developed in collaboration with the Formosan Aboriginal Song and Dance Troupe (FASDT). Both projects are based on the author's dissertation "Music in the Life ofthe Tao: Tradition and innovation" (2015). These projects posed questions such as: how can anthropological and ethnomusicological approaches and methods be applied during the creative processes of composition and choreography in order to interpret the Taos ecological and political issues on the stage? What insights can be gained from the practice-based collaboration and discussions, during and after the performances? And how do these artistic projects reflect back on and potentially change current political and social situations?

The Existence Of Kenthongan As Folk Art: Study Of Kenthongan Banyumas

Since its appearance until now, Kenthongan is still exist and its journey has changed its function, from a means of communication to become a folk art. Banyumas is an area that has a lot of bamboo plants as materials for making Kenthongan which has the potential for development. Kenthongan art in Banyumas exists and develops until now. Therefore, the purpose of this study is to identify and explain the existence of Kenthongan as a folk art in the Banyumas. This research is a qualitative descriptive study with an ethnomusicological approach. Kenthongan as a cultural product (living tradition) has been present as a folk art since its inception, having the form of a slit-drum and developing into a non-slit-drum. The development of the non-slit-drum form is an adaptation of Gambang Calung Banyumas’ blade. Kenthongan non-slit-drum developed in three stages, namely 1) in 2002, 2) in 2005 and 3) in 2013. Its development includes the form and the function of which it was originally a rhythmic instrument in 2002-2005 developed into a melodic instrument in 2013.