Music Movement Research Articles

한국악단편성에 나타난 예술적 가치 연구

This study aims to analyze the historical role and evolution of traditional Korean ensembles, highlighting their cultural significance and value. During the Joseon Dynasty, wars had profound economic, social, and cultural impacts on the agrarian society, and in this context, ensembles played a crucial role in uniting the people and rebuilding the nation. During the reigns of the kings of that period, systematic organization and development of court ensembles were implemented, reflecting efforts to stabilize the state through music. During the Japanese colonial period, traditional Korean ensembles faced suppression due to Japan’s colonial policies, yet some musicians secretly preserved traditional music and initiated new musical movements by blending it with Western music. Subsequently, traditional Korean ensembles pursued modernization and globalization, opening new musical horizons through the fusion of traditional and contemporary elements. This study examines how Korean traditional ensembles, even amidst war and turmoil, have contributed to uniting the people, preserving cultural identity, and continuously evolving through modernization and globalization. It emphasizes the significance of traditional Korean music as a valuable cultural asset.

Zur Rezeption von Heinrich Schütz in der Jugendmusikbewegung

This article examines how journals of the “Jugendmusikbewegung” (Youth Music Movement, or Singing Movement) shaped and promoted the reception of Heinrich Schütz. It was mainly through the medium of magazines that the Youth Music Movement was able to set the tone in the reception of Schütz during the years of the Weimar Republic. For this reason, several magazines from the years 1920 to 1933 were systematically searched for articles on Schütz. Three aspects in particular were examined: Firstly, the “Singkreise” (singing circles), which formed a core of the Youth Music Movement, but also stood in contrast to the more theologically and church musically oriented currents within the Schütz movement; secondly, the “Neue Schütz-Gesellschaft” (New Schütz Society) and its Schütz Festivals, which remained in declared hostility to the bourgeois cult of genius and were the central instrument for making Schütz a figurehead of the Youth Music Movement; thirdly, the Bärenreiter publishing house and its young director Karl Vötterle, who managed to gather all branches of the Youth Music Movement – including the Schütz movement in a prominent position – into his publishing house.

Gamelan Recordings As an Archive of the Gamelan Music Movement in Bali | Rekaman Gamelan sebagai Arsip Pergerakan Musik Gamelan di Bali

This article reviews the role of Gamelan recordings as archives in documenting the movement of Gamelan music in Bali. The research was conducted through observation and interviews to understand the practices and outcomes of using recordings in the Balinese cultural context. Through direct observation and interviews, this study explored various developments in playing techniques, styles, and composition forms. Recording is a process of capturing sound or images stored in digital or analogue format, serving as archives for work documentation, reproduction, and distribution. An archive consists of various documents, records, or other items stored for historical or administrative purposes. Archives may include written, audio, visual, or digital recordings encapsulating essential or valuable information in specific texts and contexts such as history, culture, and law. Thus, combining research methods has yielded a profound understanding of how recordings function as archives of the Gamelan music movement in Bali and have added value to the preservation and development of traditional culture. Furthermore, this article provides deep insights into how Gamelan recordings can be valuable in understanding the evolution of traditional Balinese music.

Musical Identity in Contemporary Creative Works Among Thai Jazz Artists

This study aims to explore the musical identity of Thai contemporary jazz artists by examining their attitude, musical content, and music creation process. Thirteen informants participated in this qualitative study through in-depth interviews. The results demonstrated that musical identity could be divided into three categories: 1) regional musical identity, 2) individual musical identity and 3) cultural musical identity. The factors associated with the emergence of musical identity include musical movements and phenomena, integration between two musical styles in terms of articulation and contextual elements, and contemporary and hybrid-crossover music approaches in today’s world. These factors, along with social interactions both within and outside the jazz community, affect the transformation of musical identity. The findings of this study will help Thai jazz artists and those involved in the jazz industry effectively build their musical identity, create value for their music, and elevate their works to an international level.

The Movement of Sundanese Karawitan Artist in the Indie Music From the Perspectiv of Music Sociology

This research delves into the attitudes and perspectives of Sundanese karawitan artists toward the indie music movement through the lens of music sociology. Employing qualitative methodologies such as literature review and fieldwork, the study reveals that these artists do not merely act as preservers of cultural heritage but also actively adapt and integrate their traditional music into the indie music scene. As pivotal figures, they engage in collaborations with global elements within the indie world, making substantial contributions to the evolution of indie music. This active participation fosters a unique harmony that mirrors the diverse and dynamic nature of Indonesian culture. The study offers a comprehensive analysis of how Sundanese karawitan artists interact with and influence the indie music scene. Their involvement is not just a preservation of traditional art forms but a dynamic adaptation that enriches both their cultural heritage and the broader indie music movement. By blending traditional and contemporary elements, these artists create innovative music that appeals to a global audience while retaining its cultural roots. Furthermore, this research highlights the significant role of Sundanese karawitan artists in the indie music scene, showcasing their ability to navigate between tradition and modernity. Their contributions reflect a broader trend in the Indonesian music landscape where traditional art forms are not static but are continually evolving and adapting to new contexts and influences. This dynamic interplay between tradition and innovation is crucial for the sustainability and growth of both traditional and indie music genres in Indonesia.

On Minimalism: Documenting a Musical Movement ed. by Kerry O’Brien and William Robin (review)

On Minimalism: Documenting a Musical Movement ed. by Kerry O’Brien and William Robin (review)

Pengenalan cita-cita melalui fun learning untuk meningkatkan minat belajar siswa taman kanak-kanak

This community service aims to enhance students' interest in learning at TK Karitas V, Surabaya, by introducing future goals through fun learning. Early childhood education, which falls within the golden age phase, requires teaching methods that can enhance children's focus, considering that children often face emotional instability during this period. In an effort to achieve this goal, the introduction of future goals is implemented through an engaging and interactive learning model, utilizing playful activities and musical movements to create an enjoyable and meaningful learning experience, thus enhancing the students' learning interest. The method used in this community service is service learning, involving direct interaction with children to create strong emotional bonds and interactions. The results of this community service show changes before and after participation among TK Karitas V students. Students demonstrate increased enthusiasm and eagerness to learn in pursuit of their dreams. Students also show improvement in their ability to understand and interpret aspirations related to their future.

Qu Xiao-Song’s Oratorio “Cleaving the Coffi n”: Features of Vocal and Orchestral Style

The oratorio “Cleaving the Coffi n” is a work created as part of the new wave music movement in China at the end of the 20th century. The dynamic fusion of avant-garde creative and aesthetic concepts with traditional Chinese culture marked a turning point in the development of Chinese oratory. This article presents the history of the development of Chinese oratorio prior to the appearance of this work, as well as the composer Qu XiaoSong and his creative ideas embodied in the genre of oratorio. The author of the article emphasises the important role of national percussion instruments in the work, and for the fi rst time analyses the specifi c features of the use of voice in the oratorio “Cleaving the Coffi n”, refl ecting vivid national colours and the composer’s unique musical and artistic style. This article is the fi rst mention of this oratorio in Russian musicology, and one of the few articles in Chinese musicology that analyse this work.

Resonating Reflections: A Critical Review of Ethnosymbolic Dynamics in Les Six’s Music Nationalism Movement

Les Six and their mentors stirred a debatement of French nationalist music in the early 20th century. However, this movement faced serious criticism and mockery from various quarters and eventually fell apart amid challenges. This critical review explores the ethnosymbolic dynamics within the nationalism music movement of Les Six, and drawing upon ethnomusicological perspectives, the study examines how their compositions reflected and resonated with French national identity and cultural heritage. By analyzing primary sources, scholarly literature, and musical compositions, this article meticulously uncovers the chain reactions generated in the process of constructing national identity and cultural identity within this movement by examining the French societal backdrop, musical traditions, as well as the relationships and attitudes among relevant figures in this movement. The conclusions highlight the multifaceted nature of ethnosymbolism in their work, shedding light on the complexities of national identity construction through music.

„Mitu nie zdradzajcie”. Modernistyczna koncepcja tańca w eksperymentach studia „Heptachor”

The Heptachor (Гептахор) studio was a leading early 20 th-century Russian modern dance school committed to a revival of the art of dance and the development of new forms of musical movement and new concepts of artistic creation. In the years 1914–1934, it was the centre of the Musical Movement dance school, experimenting with a wide range of artistic, educational and therapeutic practices. The aim of the article is, first, to present the history of the Heptachor studio on the basis of the recollections and memoirs of its co-founder Stephanida Rudneva, contemporary documents and archive materials, and, second, to analyze the typical creative process narratives included in those sources.

Other Ways of Knowing the Danish Music Industry: From Disorientation to Feminist Collective Capacity

ABSTRACT In this article, we explore how women and gender-minoritized music professionals experience the gendered infrastructure of the Danish music industry. Based on ethnographic material, we discuss how the Music Movement of 2019, a closed online community, serves as a space where bodily and affective experiences of work-related sexism are shared and transformed into a feminist capacity in terms of a collective body of ideas and initiatives that privilege other ways of knowing popular music and the music industry. We argue that the Music Movement is in itself an important infrastructure that facilitates social change within the Danish music industry.

Podcast confessional: Punk and post-punk archiving, history and ‘afterlife’ conversations on the C86 Show

Among the recurrent preoccupations of punk and post-punk is a critical consideration of the individual’s relationship to society. The emergence of podcasts in which hosts and musicians engage in historically contextualized conversations therefore presents an intriguing turn of events that will be of interest to punk and post-punk scholars. This article considers the possibilities of conversational podcasts via a discussion of the C86 Show, a popular UK-based podcast featuring interviews with punk, post-punk and indie musicians of the 1980s. Aided by the empathic interviewing style of its host, David Eastaugh, the show’s long-form, in-depth conversations connect musicians’ experiences and memories to historical contexts associated with the Thatcher era. Engaging two main fields of research – audio studies and punk and post-punk scholarship – I argue that the C86 Show offers listeners a rich window into punk, post-punk and indie during that time. By inviting musicians to reflect on their pasts (and their lives since the 1980s), the show sheds light also on how these musical movements and genres are remembered today. No less important, the show’s online collection of over one thousand interviews represents a significant archiving project that will be of interest to punk and post-punk scholars.

Opportunities for the Development of Motor Skills through Music-Movement and Dance Activities of 9–10-Year-Old Pupils

The goal of the research was to determine the impact of an intervention program containing musical movement and dance activities on the level of pupils’ physical abilities at the elementary level of education in physical and sport education classes. The object of the research consisted of Ʃ63 pupils, boys (n=30) aged 10.21±0.42 and girls (n=32) aged 10.32±0.37. The content of the movement program was selected means containing music and movement, dance activities and aerobics, which were implemented for 18 weeks, twice a week, 45 min during physical and sport education. In terms of data collection methods, standardized tests for physical education practice were used. Tests were used to assess the level of motor skills: sitand- reach test, standing long jump, sit-ups in 30s, endurance shuttle run and shuttle run 4x10. The somatometry method was used. The effect of the implemented movement program was confirmed and significant positive changes in the level of the observed movement abilities were observed: the level of mobility in the joints of the trunk in boys (t=-8.471), girls (t=-9.357), explosive power of the lower limbs in boys (t=-14.459), girls (Z=-4.940), the dynamic and endurance power of the abdominal, hip and thigh muscles in boys (Z=-4.325), girls (t=-19.264), running speed in both boys (Z=-4.783), girls (t=7.095) with a large effect size, in endurance skills in both boys (Z=-4.828), girls, (Z=-5.028) also with a large effect size. Based on the results, the regular and purposeful physical activity of pupils in the school environment significantly influences the level of physical abilities, and thus physical fitness as one of the manifestations of health.

Cultural Representations of the New Wave in Yugoslavia 40 Years Later


 This study is dedicated to the analysis of cultural perceptions of the New Wave (musical movement) within the Yugoslav context in the past decade (up to the 2020s). The observance of a particular anniversary brings forth a multitude of meanings ascribed to the event through recollections and nostalgic narratives. Inspired by Bennett and Rogers' theoretical insights in "Popular Music Scenes and Culture of Memory" (2016) regarding "memory bursts" in creating and consuming popular music, the primary objective was to explore how the narrative of the New Wave is currently constructed. Through an analysis of various events organized in the former Yugoslavia over the past decade, revolving around the New Wave, this study aims to identify cultural perceptions of this phenomenon as well as to highlight its recurring and repetitive key elements. Each analyzed event received media coverage, thus making online sources a fertile resource base for this research. 

Wilhelm Stenhammar och folkmusikfrågan

This article focuses on composer Wilhelm Stenhammar’s relationship with the nascent Swedish folk music movement, namely the individuals, networks and organizations committed to preserving folk music in Sweden. The matter is briefly discussed by Bo Wallner in his biography of Stenhammar (1991), and his conclusion is that Stenhammar is ‘standing beside’ this movement. Unlike several contemporary colleagues he did not, for example, actively participate in the production of written records and, according to Wallner, seems to have lacked personal contacts with ‘experts’ on the subject. The present article is based on new or previously overlooked facts leading to a modification of Wallner’s conclusion. In the 1910s, Wilhelm Stenhammar was one of those who actively got involved in the issue of the possibilities of the phonograph in the documentation of folk music. He was in personal contact with Yngve Laurell, assistant at The Swedish Museum of Natural History, who had been educated at the Berliner Phonogramm-Archiv. By engaging donors Stenhammar greatly contributed to Laurell being able to carry out phonograph recordings of Swedish folk music during several years. In 1914 Stenhammar was also one of eleven prominent figures in Swedish cultural life who signed an appeal for ‘a phonogram archive for folk music’ with the Berliner Phonogramm-Archiv as a likely model. Placing Wilhelm Stenhammar beside the contemporary folk music movement without contacts with experts in the field is therefore wrong. By making Laurell’s recording work financially possible, his involvement also gained historical significance for the genre. Keywords: Wilhelm Stenhammar, folk music, folk music movement, phonograph, Yngve Laurell, Berliner Phonogramm-Archiv.

“This is Not A Song, It’s An Outburst”

Challenging traditionally-conceived narratives surrounding the dialectic of Apartheid, many Afrikaners became facilitators of in-state resistance alongside their black peers after becoming disillusioned with the South African regime’s foreign policy initiatives during the 1970s and 1980s. Afrikaner men were conscripted to fight in their country’s dirty wars in Rhodesia and Angola, which destabilized the regime’s legally-enshrined white privilege and fueled resistance expressed through musical movement. This idea connects to tactics used by the American government to assert racialist sovereignty as a tenet of stratifying South Africa’s domestic society through soft power. This paper demonstrates through semantic and musical deconstructions how and why Paul Simon’s “Graceland” project and the Voëlvry punk movement worked to dismantle tenets of racial governance at the grassroots level in South Africa. From the usage of the English language to the usage of Western instrumentation with “reclaimed” rhythm, these cases show a broader yet calculated transgression from mediatic expressions of Apartheid through moral entrepreneurship.

Comprehension of the inner form of a musical work or the constitution of a new melos by means of a musical movement?

The paper discusses an alternative: comprehension of the inner form of a musical work or the constitution of a new melos by means of musical movement. We are talking about a special genre of art, free dance, called "musical movement", and in its two important contexts - staging performances and teaching. The concept of internal form and the appeal to it by the teacher and the director of performances Aida Aylamazyan is analyzed. The author offers a different understanding of the inner form than Aylamazyan. The musical movement formally consists of two different beginnings of the perception of serious music and organized movement in a broad sense (poses, tensions, emotions, coordination of movements with other dancers); the first beginning was formed in recording and listening to music, the second is mastered in the classroom. Entry into a musical movement occurs if these two beginnings merge into one. The movements of the dancers should not contradict the music, not destroy its perception. In addition, they should set a new organization of music, namely one that meets the idea of the organizer of the dance. As a result, a new objectivity is formed - a musical intonation organized by the musical movement. The article offers a new look at the concept of the inner form of a musical work, as well as an understanding of the musical movement itself. The formulated alternative is allowed if we distinguish between two different types of work: teaching musical movement and staging new performances. As part of the training, an adequate understanding of music is important. An important role here is played by the interpretation of a piece of music, which is created on the basis of semiotic schemes. Equally important is the training of dancers of the musical movement, during which they form a new hearing and understanding of music. As a teacher, Aylamazyan relies on the concept of inner form, as a director, she must discover a new content of a musical work that can be revealed in a concert with the help of musical movement.

Facial Expressions According to Tones on Jegog Leaf Blade as A Source of Installation Art Works Creation

Gamelan Jegog comes from the Jembrana area, where this Jegog has a very melodious and loud voice so that Jegog is well known throughout foreign countries. Gamelan Jegog is made of bamboo. Incidentally, in the Jembrana area there are many bamboo trees and the bamboo grows well because of the fertile soil, many bamboo trees grow and develop there, and that is what prompted Jembrana artists to create musical instruments made of bamboo. The tone in the Jegog gamelan can make a musical rhythm so alive. Each music must have its own rhythm. Tone is a musical movement that is controlled in time. Without good tunes, it's easy to get lost in the music and get out of sync. In Gamelan Jegog there are various melodies and rhythms such as the high and low of a note to make the rhythm of the music being played calm and peaceful. Based on the description above, the tones and facial expressions in Jegog gamelan are the inspiration for creating installation art works. Thus facial expressions according to tone in Gamelan Jegog serve as a source of inspiration in the creation of works as well as being the title for facial expressions according to tone on jegog leaf blades as a source for creating installation art works

Between ‘Ich will Spaß’ and ‘99 Jahre Krieg’: Receptions of the ‘New German Wave’ in the United States

In the late 1970s a new music movement, rooted in British punk and New Wave music, emerged in West Germany. It distinctly was not only sung in German, but the lyrics played with the German language by adding Dadaistic elements or youth slang, and reflected on the political, cultural and social zeitgeist of late Cold War West Germany. Over the years this formerly underground music genre was labelled ‘Neue Deutsche Welle’ (NDW) and became a commercial success, both domestically and abroad: Artists like Peter Schilling became known in the United States, the biggest hit ‘99 Luftballons’ by the band Nena reached number 2 in the Billboard Hot 100 in 1983 in its original German version. Like many other New Wave music, NDW songs found their way to mainstream success in the United States through the club scene, radio shows and the then new music television. At the same time, coming from the then still divided Germany catapulted the bands right in the middle of the Anti-war and Anti-nuclear movements at the end of the cold war, even when NDW bands themselves oftentimes labelled their music as non-political.

The Materializing Rhetorics of Early Music

Ever since Pierre Schaeffer’s admonition in his Traité des objets musicaux of 1966 to avoid “preoccupations about how things are made” by “turning our backs on the instrument” and “listening to sound objects with their instrumental causes hidden,” materially oriented studies of sound have attended increasingly to sound objects and to ontologies of sound broadly, often turning away from considerations of the tactile materiality of sound sources. Deviating from this trend, this study focuses squarely on sound source materiality, and on our motivations for either foregrounding or dismissing it in our verbal, visual, and sonic rhetorics. As a case study, I turn to the Early Music movement, understood here as a constellation of cultures invested in the consumption and historically informed production of mostly European music written before c.1750. Seeking to distance themselves from the classical music mainstream, this movement’s participants have often adopted rhetorical stances that foreground and celebrate the materiality of sound sources, particularly instruments and their constituent parts. Rooted partly in the assumption that instruments may act as material conduits to imagined historical soundscapes, these materializing rhetorics are also born out of affinities among producers and consumers of Early Music for musical works whose poetics are themselves bound up in materiality—and in turn, for particular instruments whose sounds tend to animate such poetics. Selected theories of Michel Chion, Roland Barthes, and others are invoked in an effort to situate the verbal, visual, and sonic materializing rhetorics of Early Music cultures within broader discussions of sound source materiality.