Modern Musical Instruments Research Articles

Transformation of Cultural Identity of the Okokan Tradition in Kediri, Tabanan, Bali

Nowadays, the aesthetic value of Okokan performing art has shifted from the sign values replaced by exchange values. This shift is called as a phenomenon of transformation or change that occurs in the Okokan performing art. This study aims to examine the transformation that occurs in the Okokan Traditional Performing Art in Kediri, Tabanan, Bali. Qualitative method is used in solving the problems by taking data through observation, interview, verbal and visual documentation. Based on the findings, the process of the cultural identity transformation of the Okokan performing art includes the transformation of ritual values into profane values. In 1960, the Okokan tradition was carried out only when residents of Kediri had disease outbreak. Year after year, the function of Okokan performing art is shifted to commercialization. Beside of the function, there are changes in the music accompaniment. The existence of popular culture has led the Okokan Tradition being played with modifications of modern musical instruments and dances. The shift also occurs in the use of attributes and dance movements that have followed the current concept.

Exploration Of Lampung Traditional Music In Efforts To Preserve Culture By Kulit Tipis Community In Bandar Lampung

Traditional music is one of the elements of culture keeping the continuity, dynamics, cultural identity and also becoming a vehicle for transmitting the cultural values inherited from generation to generation. This study aims to identify and describe the exploration of traditional music Lampung as an effort to preserve music culture by the Kulit Tipis community in Bandar Lampung. This research was conducted using qualitative methods. Data collection techniques used literature study, observation, interviews, and documentation studies. The results showed that there were efforts to preserve Lampung traditional music by Kulit Tipis community in Bandar Lampung, namely: (1) Collaborating traditional Lampung musical instruments with modern musical instruments or traditional musical instruments from other regions. (2) Making musical compositions from Lampung folk songs or modern pop songs today. (3) Performing musical exploration performances in various festivals, regular bands, and competitions in Lampung or outside the Lampung area. (4) Creating and uploading their video recordings of musical composition performances from the Kulit Tipis community through social media, such as YouTube.

ORTA ÇAĞ DÖNEMİ’NDE NEFESLİ ENSTRÜMANLAR SANATI

Medieval musical instruments are closely related to the types of palace and city culture that were active at that time. Church rituals, music, song, and dance styles of the urban settlements were based on the vocal and instrumental skills of the musicians. The emergence of new instrument types compared to the heritage of antiquity was due to several factors. The most important change in the social status of the musician: the traveling artists are replaced by an instrumentalist striving for "establishedness". This trend led to the formation of professional-musicians working in the service of the city magicians and performing their duties in terms of "music economy". The oldest medieval musical instrument was the human voice. The spread of Christianity in the Dark Ages and early Middle Ages led to the popularity of hymns and secular songs. Many musical instruments of the Middle Ages were the predecessors of modern musical instruments. Wind instruments are the oldest type of musical instruments from the Ancient Ages to the Middle Ages. However, in the process of development and formation of medieval Western civilization, the scope of application of wind instruments greatly expanded: for example, some instruments such as the olifant belonged to the palaces of the nobility, others - the flutes - were used both in the folk setting and among professional musicians, while others such as trumpets were only become military musical instruments.

La datation au radiocarbone nous raconte l’histoire des instruments de musique modernes : exemple de vina-s indiennes traditionnelles du Musée de la musique, Paris

Bien qu’un musicien transporte en quelques secondes son auditoire dans un autre temps, l’instrument de musique est souvent paradoxalement difficile à dater ! Objet d’art, d’usage, véhicule de valeurs culturelles, soumis aux modifications successives pour le mettre « au goût du jour », de quelle époque l’instrument ancien est-il vraiment ? Tenter de répondre à cette question nécessite de faire dialoguer plusieurs disciplines. Aujourd’hui, la datation 14C intègre la boîte à outils des approches de caractérisation des instruments de musique de la période moderne, du xvie au xixe siècle, permettant d’en retracer les usages et les transformations par application aux éléments constitutifs : il suffit pour cela que les matériaux contiennent du carbone. La rencontre récente entre les milieux de la conservation/restauration, de la facture instrumentale et des techniques d’analyses scientifiques, introduisant l’accès à la nouvelle génération de spectromètres de masse MICADAS dédiés à la datation 14C, apporte de nouveaux éléments quant à l’histoire matérielle des instruments des collections muséales, que nous présentons ici au travers de l’étude de deux instruments indiens de la collection du Musée de la musique à Paris.

Genre Baru Kasidah Sufistik di Indonesia 2001-2010

The process of Islamization has caused acculturation among the Nusantara and foreign culture. One of them is in the field of music, namely “Kasidah”. Initially the kasidah only used a tambourine instrument (rebana), later in its development it was mixed with Western musical instruments (guitar, bass, keyboard and drums), its name became the modern kasidah. Along with the development of the times, the Kasidah also went through a process of deculturation. Where the kasidah is no longer unique to the rebana, musicians in Indonesia have left the tambourine and only use modern musical instruments. a new genre emerged in kasidah, namely pop kasidah. This study uses historical research methods, namely research models that study past events based on the traces they have left. This research method is carried out in four stages, namely heuristics, criticism, interpretation and historiography. In 2001, a Sufi Muslim music group was born with personnel from various countries, namely Dust. They use many musical instruments from various countries as well, this is what causes the music color of Dust to be different from the others.

COMMUNITY CONTROL AND PATTERNS ON THE EXISTENCE OF RANDAI DAYANG DAINI IN KOTO BARU COMMUNITY, MUNGKA SUB-DISTRICT, WEST SUMATERA

Randai Dayang Daini is one of the Minangkabau traditional art forms that are owned by the Koto Tuo Mungka community, Mungka District, 50 City Regency which is almost forgotten by the community. This paper aims to reveal the existence, causes of decline and the efforts made to maintain the existence of this art. The results of this paper indicate that Randai Dayang Daini was used during the sialm period in weddings, welcoming guests, circumcisions and the appointment of the chief. But now this art is starting to be forgotten, this is because this randai is considered ancient and not in line with Islamic teachings, there is social jealousy in randai members and a lack of variation in each performance. There are several efforts made by the community to maintain this randai art, such as female characters who were previously played by men now must be women who play them and vice versa. The change in the place where the appearance used to be in an open space is now inside the multipurpose building. Previously all musical instruments were traditional instruments, now they can also be assisted by modern musical instruments such as organ, violin or band.

Stylistic features of the performing ancient instrumental music

Stylistic features of the performing ancient instrumental music

Development of Augmented Reality (AR) Based Gamelan Simulation with Leap Motion Control

One of the traditional musical instrument from Indonesia is <em>gamelan</em>, that is now less desirable because people nowadays prefer to play modern musical instruments, or because of its expensive price. This study combines the modern technology of AR and Leap Motion and also utilizes the sophisticated smartphone to develop a <em>gamelan</em> simulation that is presentable to the user. There are two kinds of an experiment performed in this research. The first is Augmented Reality (AR) experiment which authenticates that the distance and the height parameters are the keys to get a 100% success in running the <em>gamelan</em> simulation. The distance is ranged from 45 cm to 65 cm and the height is ranged from 25 cm to 30 cm. And the second one is the usability evaluation to five users, who resolves the completion task very well, acquires the result of 86.48%.

КОМПОЗИТОРСЬКА ТВОРЧІСТЬ НАРОДНОГО АРТИСТА УКРАЇНИ МИКОЛИ БАЛЕМИ

The genre-style priorities of vocal and instrumental creativity of the famous Ukrainian composer, long-time artistic director and chief conductor of the Khmelnytskiy Academic ensemble of song and dance “Cossacks of Podillya” Mykola Balema are elucidated. Attention is drawn to his numerous national-patriotic, spiritual-liturgical, folkloristic, lyrical-customs artifacts, operas “Eternal Stage” (Karmalyuk) and “Prophet” (T. Shevchenko), etc. The composer’s music is characterized by a wide range of musical creativity due to the appeal to almost all musical forms: opera, symphony, cantata, ode, liturgy, suite, ballad, sonatas, romances, musicals, pop songs (folk, rock, jazz, pop), music for the theater, adaptation of Ukrainian folk songs. In total, the composer created more 700 musical works of different genres: 11 vocal and choreographic compositions, suite, 13 vocal and symphonic compositions, 200 adaptations of historical, Cossack, family-related, holiday-calendar folk songs of Podillya and Ukraine, 26 works for the academic choir on poems of Ukrainian poets and 31 children’s songs. On the basis of his own vocal-choral music, the composer created a number of various theatrical concert programs for choir, orchestra and ballet of the ensemble “Cossacks of Podillya”. He wrote the series “Marches of Ukrainian Victory” for military brass bands. In his musical language, modern musical instruments with a national tradition, historical and cultural origins are organically combined with a projection of the aesthetics of Ukrainian national-cultural revival.

APLIKASI PEMBELAJARAN BERBASIS AUGMENTED REALITY PADA BUKU PENGENALAN ALAT MUSIK MODERN UNTUK ANAK

The use of augmented reality (AR) technology as a learning medium for modern musical instruments aims to overcome the limitations of schools in terms of the procurement of musical instruments, as well as to increase the value of student understanding and provide a more interactive experience. Modern AR-based learning instruments application featuring 3D objects and 3D videos of modern musical instruments. The application is built for mobile devices operating on Android. Based on the results of testing the device, the application can run perfectly on devices with a RAM specification of 0.5 GB and above. Tests were also conducted on Diponegoro Islamic elementary school students and teachers, these students experienced an increase in understanding of modern musical instruments, while testing of teachers to measure the interactivity of applications.

Kolaborasi Alat Musik Tradisional dan Alat Musik Modern dalam Mengiringi Ibadah Minggu di HKBP Tanjung Sari Medan

This study discusses the collaboration of traditional musical instruments and modern musical instruments in accompanying Sunday services at HKBP Tanjung Sari Medan. The purpose of this study was to find out the background and process of collaboration of traditional musical instruments and modern musical instruments in the HKBP Tanjung Sari church in Medan. The method used in this study is qualitative descriptive. The location of the study was carried out at the Tanjung Sari HKBP church, Jl. Setia Budi No. 11, Medan. The population of this study is traditional musical instruments and modern musical instruments used in accompanying Sunday services at HKBP Tanjung Sari Medan. While the samples in this study were Taganing, drums, keyboards, acoustic guitars, bass guitars, saxophone which were used to accompany Sunday services at HKBP Tanjung Sari Medan. The data collection technique is through observation, interviews, documentation, and library studies. Based on the results of the study, it can be seen that traditional musical instruments and modern musical instruments used in accompanying Sunday services at HKBP Tanjung Sari Medan, namely: Taganing, drums, keyboards, acoustic guitars, bass guitars, saxophone. The songs used in accompanying Sunday Service at HKBP Tanjung Sari Medan, and the collaboration process of traditional musical instruments and modern musical instruments in the HKBP Tanjung Sari church in Medan.

PROBLEM OF TEACHING AND LEARNING OF MUSIC AS A SUBJECT IN JUNIOR SECONDARY SCHOOLS , ONDO, NIGERIA

This study examined factors responsible for ineffective teaching and learning of music education in some selected secondary school in Ondo West Local Government Area of Ondo State. A descriptive research design was adopted for the study and the research instrument was a structured and a well validated questionnaire which was administered on one hundred and fifty respondents, randomly selected for the study. Data collected were analyzed and interpreted using percentages. The results obtained, revealed that there were few professional music teachers in the school and also poor teaching strategies, unfavorable school learning environment, inadequate of modern musical instruments among others are responsible for ineffective teaching of music education in the Junior Secondary Schools. This study concluded that for music education to thrive and fulfill its mission as a vocational subject by making student to be self reliant after graduation, the government and school administrators should ensure adequate provision of relevant learning materials (musical instruments) also, employment of qualified music personnel and training and retraining programmes should also be put in place for music teachers in order to improve their level of professionalism.

Representasi Betara Kala dalam Pertunjukan Teater Kontemporer Kalamanungsa

Representation of Batara Kala in Contemporar Theater of Kalamanungsa. This Kalamanungsa theater tellshumanitarian issues, the journey of human life, human beings who have characters that need to fi nd a way out forthe better life. Starting from the myth Betara Kala that was born not intentionally emerges a wide range of results.Kalamanungsa will show something different. Existence Betara Kala, Kala Betara existence presented, and the mythof the birth of stalling and Betara Kala is an inspiring creation performance theater Kalamanungsa. Kalamanungsaraised the issue of modern society life with invented characters, with burdened by the dialogues that contain philosophy,poetry, with strong musical aspect. Kalamanungsa is showed with a modern theatrical approach, by presentingthe symbols to express meaning and emotion, using multimedia, projector/LCD, with music that is processed ona computer elaborated with a variety of traditional and modern musical instruments as the stage spectacle which isintentionally presented to give specifi c meaning. Theater performance Kalamanungsa tries to explain all elements ofart in a show, like music art, dance art, lighting and other art media with hope that Kalamanungsa will attend as ashow of modern theater.

Pitch perception beyond the traditional existence region of pitch

Humans' ability to recognize musical melodies is generally limited to pure-tone frequencies below 4 or 5 kHz. This limit coincides with the highest notes on modern musical instruments and is widely believed to reflect the upper limit of precise stimulus-driven spike timing in the auditory nerve. We tested the upper limits of pitch and melody perception in humans using pure and harmonic complex tones, such as those produced by the human voice and musical instruments, in melody recognition and pitch-matching tasks. We found that robust pitch perception can be elicited by harmonic complex tones with fundamental frequencies below 2 kHz, even when all of the individual harmonics are above 6 kHz--well above the currently accepted existence region of pitch and above the currently accepted limits of neural phase locking. The results suggest that the perception of musical pitch at high frequencies is not constrained by temporal phase locking in the auditory nerve but may instead stem from higher-level constraints shaped by prior exposure to harmonic sounds.

Wave propagation inside the <i>Agbo</> horn

Recent experimental investigation on the acoustics of horn made from the fruit of a local plant called agbo revealed a lot about wave forms generated in the horn. Many of the waves were identified and other uses to which the horns can be put have also been deduced. It is found that the horn's performance is comparable to that of modern horns and other musical instruments in emitting harmonious vibrations of even and odd harmonics when excited. This investigation has further shown that the “agbo” horns can be used for fourier analysis and amplitude modulation. They also have characteristics similar to violin, piano, oboe, flute, clarinet in addition to producing beat phenomenon.

Trends in Acceptable Tone-Quality as Evidenced in Modern Musical Instruments

Taste in tone-quality, like style in dress and foods, is subject to fad and fancy. Past epochs evidence the influence of unique instrumental tone-color on vocal timbre. Instruments, in turn, were designed to imitate desirable vocal quality and that of other musical instruments. The last decade has revealed a number of electronic machines simulating other instruments, and generally using the pipe-organ as a prototype. Most organists resent such innovations because the “stops” representing various instrumental effects do not sound like those of their pipe-organ. Traditional organ-stops, however, offer themselves only a first approximation of the instruments they represent. Musicians and laymen have in general been greatly intrigued by the possibilities of these new music-makers. Psycho-physical data also indicate that these machines produce a nice approximation of steady-state tones. The trained ear, however, demands at least two refinements (thus far elusive) for a satisfactory reproduction of the characteristic effects of conventional instruments: (1) Differentiation of various instrumental registers, and (2) varied attack, typifying bowed, plucked or embouchure-controlled instruments. The infinite array of tonal effects produced by such modern musical instruments has further stimulated the composer's creative urge, although a predilection for well-defined regions of overtone structure is indicated.

Trends in Acceptable Tone Quality as Evidenced in Modern Musical Instruments

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The Music of the Bible; With an Account of the Development of Modern Musical Instruments from Ancient Types

The Music of the Bible; With an Account of the Development of Modern Musical Instruments from Ancient Types