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Jiménez, Manuel Anthony. "Bamboo power : performance in gamelan jégog and comparisons with UK gamelan performance." Thesis, SOAS, University of London, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.690468.
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Jacobs, John. "Gamelan composition : extended garap." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/6214/.
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A major part of gamelan’s appeal lies in the prevalence of aural transmission for both karawitan (traditional gamelan music) and new compositions. It is a medium through which I hope to have created music that departs from existing repertoire to an interesting degree, satisfyingly rich with fresh ideas even to specialists’ ears, without losing the players’ comprehension-of-the-whole that is a prerequisite of good ensemble. This comprehension can be much aided by building on existing norms, to make use of that which has been honed over generations by knowledgeable players, to extend rather than replace conventions of garap (musical realisation from an abstraction of, and/or partial notation of a piece). For this reason the pieces presented here tend to start with an initial tweak to a karawitan norm which then requires a cascade of related tweaks to garap. The initial modifications I explore in this body of work fall into two strands: 1) Garap for 3-beat gatra; and 2) Garap to three-note seleh-chords – to seleh notes harmonised with the kempyung above and the kempyung above that, for example harmonisation of seleh low 6 with 3 and high 1. For subsequent transmission of music initially created in these ways, full scores will not most usefully aid other musicians whether their wish is to play, to lead rehearsal of, or to analyse pieces. What is required instead is a guide to the interconnected set of ideas and skills required to realise a piece from various media. Ideally this guide will convey the desirability of adaptation of those realisations to context: to sets of players, to sets of instruments, to performance situation, to musical whims. That is, the means of transmission ought not inadvertently define “the piece” as an immutable ideal. Hence the submission as a website, for clear connecting of multiple media sources in the communication of my extended garap methods. This PhD/website is hosted by the University of York at http://php.york.ac.uk/library/dlib/johnjacobsphd/
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Roth, Alec R. "New composition for Javanese gamelan." Thesis, Durham University, 1986. http://etheses.dur.ac.uk/917/.
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The Akademi Seni Karawitan (ASKI), in Sukarta, Central Java, one of Indonesia's leading performing arts institutes, has in the last few years (1979-1985) been the centre of a radical experimental movement exploring and extending the resources of traditional gamaeln music (karawitan). The purpose of this thesis is to describe and analyse this development and resulting new works. The term used for the creative process and the resulting compositions themselves "komposisi", leading some observers to conclude that Western influence is a decisive factor. Closer investigation, however, raises important questions, e. g. Is the Western concept of "composition" compatible with traditional karawitan? Why are young Javanese musicians expressing their creativity in this way? The context of the traditional music system and recent cultural change which form the background to the experimental movement are examined in 5 preliminary essays. Chapters 2 and 3 cover physical resources (gamelan) and conceptual resources (karawitan) providing the point of departure for the young composers. The very different creative role of the "composer" in traditional karawitan is then outlined in Chapter 4. Recent changes affecting the traditional arts are examined in Chapter 5; and in Chapter 6, the aesthetic and artistic goals of ASKI's director S.D. Humardani are discussed, together with the initial steps in putting these into effect. In Chapter 7, the new creative process is examined, while in Chapter 8 twenty-one compositions are subjected to systematic analysis, making extensive use of written and recorded musical examples. Questions of form and structure are raised in Chapter 9; and in Chapter 10 six representative works are given in full, recordings being provided on cassette, and translated editions of the composers' original notations in an appendix. The problems of critical evaluation are raised in Chapter 11, which goes on to consider the implications of these new compositions in a wider context.
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Basset, Catherine. "Gamelan : royaume concentrique du gong." Paris 10, 2004. http://www.theses.fr/2004PA100190.
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Tome I : " Gong : 20 ans de recherches " présente les 5 tomes, la recherche (Bali, puis Java et Sunda) et 2 publications non-jointes. Tome II : " Musiques de Bali à Java, l'ordre et la fête " (livre+CD, Actes Sud/Cité de la Musique). Gamelan = instrument collectif ; styles musicaux et culturels de Bali, Java et Sunda comparés. Tome III : " Gamelan, architecture sonore ", site internet, version papier + CD Rom multimédia interactif (ed. Cité de la Musique). Paramètres d'analyse pertinents ; création d'une notation musicale concentrique, qui révèle la structure musicale en mandala autour du gong et ses assises culturelles. Tome IV : "Tabuh, tawur, retourner le son, renverser le sort. Roue sonore, cosmogonie et structures de l'offrande ". Relation entre la musique et le symbolisme du cosmogramme-mandala ; découverte de l'analogie de structure (i. E. La réversion) entre musique, sacrifice rituel et méditation (tantrisme). Tome V : Annexes. Biblio. 815 titres, table des matières des 5 tomesTome I : " Gong : 20 years of research " presents the 5 volumes, the research (Bali, then Java & Sunda), and 2 not included publications. Tome II : " Music from Bali to Java, the order and the feast " (book+CD, ed. Actes Sud/Cité de la musique) ; gamelan = collective instrument ; musical and cultural styles of Bali, Java & Sunda compared. Tome III : Gamelan, acoustic architecture ", web site, paper version + CD Rom multimedia interactive (ed. Cité de la Musique) ; valuable parameters for analysis ; création of a concentric musical notation revealing the mandala musical structure around the gong, and its cultural basis. Tome IV : " Tabuh, tawur, returning the sound, reversing the spell. Sounding rod, cosmogony and structures of the offering ". Relation between music and the mandala-cosmogram's symbolism ; discovering of the same structure (concentric and reversion) in music, ritual sacrifice and meditation (tantrism). Tome V : Appendices. Biblio. 815 titles & the 5 tomes' table of contents
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Skog, Inge. "North Borneo gongs and the Javanese gamelan : studies in Southeast Asian gong traditions /." Stockholm : Universitet, 1993. http://catalogue.bnf.fr/ark:/12148/cb35731849p.
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Salm, Andreas. "Soundcolours : a composition for Javanese gamelan and western instruments." Thesis, Birmingham City University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421809.
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The aim of my project is to compose a large work for Javanese Gamelan and Western Chamber Orchestra in which all the instruments keep their original tuning. I am interested in the question of combining different tuning system and the effect of such combined tuning on the whole aesthetic properties of the music. One of the main research questions is: "how may Javanese Gamelan and Western instruments fit together? " My curiosity as a composer led me to try out a large number of exercises. The final score is the combined result of these exercises, the first performance of soundcolours and the solutions to the problems to unexpected sounds. My writing generally depends on practical knowledge - the working process becoming the interlocking activity of theory and practice. The folio contains the score of the main work, the score of exercises, early versions and related works, accompanied by four live recordings. There is also an extended essay in which I critically examine the problems arising from the project, the aesthetic ideas behind it, and the quality of the outcomes. In order to understand Gamelan tuning from the perspective of the Western player, I include acoustic analysis of the tuning of selected Gamelan instruments.
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Hastanto, S. "The concept of pathet in Central Javanese gamelan music." Thesis, Durham University, 1985. http://etheses.dur.ac.uk/1214/.
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Pathet, one of the most important elements of Central Javanese amelan music making, is a kind of 'musical quality' which is often related to the concept of mode in Western music. There are two kinds of tuning system operative in gamelan music, namely slendro and pelog. The Javanese distinguish three pathet in each system: pathet manyura, pathet sanga and pathet nem in slendro, and pathet lima, pathet nem and pathet barang in pelog. Some attempts at explaining the concept of pathet have been made by both Western and Indonesian theorists and indeed their theories have succeeded in identifying some characteristics of each pathet. The characteristics thus identified, however, are often too general or too specific and consequently are unable to predict the pathet of a given melody reliably. In exploring the concept of pathet, the present study gathers the materials of musical phenomena which are agreed by native musicians as being strong or even invariable in terms of impressions of pathet and constructs them into a theory. It introduces a method of analysis for Javanese gamelan music based on the structure of melodic sentences, phrases, and figures, taking into account contour, content, and context. The impressions of pathet are felt when a melody is being performed and in fact an impression of a particular pathet is established in the musicians' and listeners' minds by three interdependent aspects: contours, content and contexts of the melody constituents - melodic figures, phrases and sentences. Through the interlocking of these three aspects the process of establishment, further growth, consolidation and change of pathet in the musicians' minds and their performances are described
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Parris, Stephen. "Towards a harmonic approach to composing for central Javanese gamelan." Thesis, Mills College, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589493.
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The purpose of this thesis is to share the process behind the development of an approach to composing for central Javanese gamelans that utilizes vertical harmony. This paper will include my history with Javanese gamelan, work on the development of a piano tuning that would work with a gamelan, compositional works that led to the development of the system, a study of existing Javanese gamelan tunings, and a presentation of intervallic relationships and cadences that can be utilized with any gamelan. All of this is done with hope that others who may take interest in writing for central Javanese gamelan will have a new tool at their disposal, and to pique the interest of others in the rich world of possibilities that exist within the instruments.
There is also an explanation of the process of developing a piano tuning to be used with a traditional gamelan to perform the Concerto for PIano And Javanese Gamelan by Lou Harrison.
There is some brief discussion on the cognition of interval, and how the brain simplifies complex intervals, and begins to hear them as more simple intervals.
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Posnett, David Mark. "Gendhing Gambir Sawit : context and association in Javanese gamelan music." Thesis, Durham University, 1990. http://etheses.dur.ac.uk/1153/.
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This dissertation examines the nature and influence of one piece of Central Javanese gamelan music (Gendhing "Gambir Sawit") from as many standpoints as possible. The central premise is that greater understanding of the music and its cultural context results from the compatibility afforded to a broad spectrum of information by a concentrated focus on one composition. "Gambir Sawit" was chosen because of its popularity, accessibility, educational value and the wide variety of applicable contexts. Chapter I discusses general background, the "one composition" idea and the research methods employed, concluding with the basic musical material of "Gambir Sawit". Chapter II deals with the relevant traditional and contemporary literature - historical texts, vocal texts and aspects of "Gambir Sawit" in recent scholarly writings. Chapter III concerns interpretation - the theoretical and practical elements of gamelan are brought together in a description of selected possibilities for realising a single version.In the fourth chapter, different possibilities for tempo and levels of subdivision (irama) are discussed, as is the influence of "Gambir Sawit" on the repertoire as a whole. This includes a change of tuning system, experimentation, melodic connections, and adapting to different formal structures. Chapter V examines how "Gambir Sawit" adjusts to a variety of performance contexts, including shadow-puppetry (wavang kulit), two contrasting dance categories (bedhava-srimpi and gambyong) and praise singing (santiswara). In the regional contexts described in Chapter VI, the four selected locations - Yogyakarta, Tulungagung, Surabaya and Banyumas - all display their own sense of place as well as interrelated connections in performances of "Gambir Sawit". In the final chapter, a summary of the accumulated information provides an overview of the relevant contexts and associations. The concluding pages relate these to the individuality of "Gambir Sawit" and the underlying philosophies of the Javanese musical system. Appendices include range-charts, notations, bibliography and a list of recordings cited.
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House, Ginevra. "Strange flowers : cultivating new music for gamelan on British soil." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/6793/.
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This thesis explores new music created for gamelan in Britain, focusing primarily upon works for Javanese gamelan. It explores the historical conditions and human motivations which have made composition for gamelan such a distinctive part of the UK scene, and explores the range of works created through a series of taxonomical spectra. It considers how composers writing for gamelan in the UK situate themselves amongst the transcultural influences they are at play with in their composition. This is explored through a variety of lenses: looking at how composers use, avoid or mix musical structures associated with gamelan and those from other systems; whether or not they draw upon creative processes and methods of transmission associated with traditional gamelan music; and what happens when gamelan instruments are combined with those from other systems or with electronically-generated sound. It also explores narratives of authenticity and hybridity, and the interrelationship between British gamelan composition and the wider cultural scene. It questions the extent to which the British gamelan scene is distinct from other international gamelan communities, and the extent to which it is not, suggesting that the appearance of difference is in fact more of an inflection, coloured by local conditions, history and individuals, but nevertheless an expression of the same contemporary trans-state cosmopolitan flows (Turino 2003) that characterise gamelan cultures around the world.
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Puspita, Amelia. "The Influence of Balinese Gamelan on the Music of Olivier Messiaen." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1227193566.
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Arndt, Jürgen. "Der Einfluss der javanischen Gamelan-Musik auf Kompositionen von Claude Debussy /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1993. http://catalogue.bnf.fr/ark:/12148/cb35552935k.
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Sarwono, Sugeng Joko. "The influence of surface diffusion on the acoustics of Javanese gamelan performance hall." Thesis, University of Salford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490481.
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Gamelan music differs from Western classical music in two fundamental ways - in the characteristics of the music itself and in the spaces that the music is played. There has been no previous research to determine the preference associated with both these aspects., and yet gamelan music are being played more and more in Western style concert halls and the impact of this on the subjective perception of the music is unknown. With this in mind, the objectives of the research were to determine: the preferred sound field design for Javanese gamelan performance hall, including: the preferred listening level, the preferred Initial Time Delay Gap, the preferred Subsequent Reverberation Time, and the preferred Interaural Crosscorrelation (lACC); and the preferred configurations of surface diffusion over the frequency range of interest for the Javanese gamelan music concert hall. Computer modelling and simulation method using ODEON and subjective preference testing using the output of the modelling will be used to obtain the end result.
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Fryer, Ruth M. "Sundanese theory and practice in the performance of gamelan in Bandung, West Java." Thesis, Queen's University Belfast, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336029.
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Wakeling, Katherine Elizabeth. "Representing Balinese music : a study of the practice and theorizing of Balinese gamelan." Thesis, SOAS, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538441.
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The thesis examines how, and with what implications, Western and Balinese musicians and scholars have sought to represent and create theories of Balinese gamelan music. It considers the potential problems that arise from imposing theoretical systems devised for quite different musical and cultural contexts onto Balinese music, and offers an alternative, practice-based account. The thesis is divided into three parts. Part One considers techniques of representing Balinese music in the early twentieth century and positions the era's surge of Western academic interest within the Dutch colonial project. Examining Balinese and Western accounts, the thesis establishes key assumptions underlying these works and highlights how Balinese were often significant participants in the construction of such representations. Part Two examines how, post-Independence, imaginings of Balinese music have been steered by the Indonesian music education system and by the state's management of musical creation and performance. It considers the modem Indonesian construct of leori gamelan and discusses how this term has functioned largely as an empty signifier, used to position Balinese music-making in accordance with the various socio-political needs of theoretician, institution, local government and nation state. The thesis then addresses certain aspects of music-making since the fall of the New Order, considering how the era's political and cultural changes relate to how Balinese have created, imagined and talked about gamelan music, with particular focus on composers' representations of foreign materials and qualities of kebalian ('Balineseness') in their works. Part Three contrasts these representations with a preliminary analysis of certain practices employed by Balinese to create, teach, learn and refine music. By demonstrating the types of practical and fluid musical understanding that Balinese musicians apply, the thesis illustrates how these processes prove incompatible with the rigidity of the various musical theories claiming to account for Balinese gamelan music.
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Matthews, Charles Michael. "Adapting and applying central Javanese gamelan music theory in electroacoustic composition and performance." Thesis, Middlesex University, 2014. http://eprints.mdx.ac.uk/14415/.
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This thesis represents an investigation of composition and performance processes from gamelan music (particularly the traditional form karawitan), and the potential for their application in the medium of electroacoustic music. The research was developed through a mixture of theory and practice in a feedback relationship; the written thesis accompanies a portfolio of compositions and arrangements of traditional pieces, alongside software developed in Max/MSP to emulate and expand upon selected aspects of gamelan performance practice. The thesis is divided into two parts. Part I establishes the theoretical foundations for the thesis, introducing key concepts from ethnomusicology, gamelan music, and theory developed for electroacoustic music. Central to the thesis is a notion of “idiom” involving constraints, affordances, and individual expression. While the choice of instruments does not always influence musical style, karawitan presents examples of established instrumental roles in relation to a central framework. In the absence of a unified electroacoustic theory, Schaeffer’s musique concrète provides a starting point for discussion. Further ideas are developed using an adaptation of Simon Emmerson’s language grid (1986) to identify situations in which musical information is imposed from elsewhere, developed directly from the sound materials, or a combination thereof. This leads to the proposal of a set of strategies for composition and analysis of new works. Three areas are discussed through a set of case studies: the development of syntax and idiomatic discourse, idiomatic references and their interpretation, and the use of cues to establish discourse. Part II examines the compositions developed during the research. A description of the overall composition framework and technical considerations is presented, in which abstract algorithmic-oriented approaches are compared with a more concrete approach to sound. A general commentary leads into the description and analysis of works in the portfolio based on the methods exposed in the body of the thesis.
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Smith, Oscar. "GENETIK: An analytical study of the contemporary gamelan music of Dewa Ketut Alit." Thesis, Sydney Conservatorium of Music, 2019. https://hdl.handle.net/2123/22218.
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This thesis seeks to reveal the innovative compositional methods in Balinese composer Dewa Ketut Alit’s 2012 work for Gamelan Salukat ‘Genetik’ through transcription and analysis. In this experimental work inspired by concepts of genetics, Alit strips gamelan music down to its core elements (its genes) and through many innovative compositional processes creates unexpected new structures, melodies, rhythms, sonorities, and textural combinations. Many of these new sounds are only possible with his new instruments, which, through an expansion of the hybrid instruments developed in the 1980s, afford Alit greater opportunity for pitch exploration. Analysis accompanied by transcription excerpts will reveal the high degree of innovation in Alit’s music, exemplifying some of the ways in which contemporary Balinese gamelan composers are breaking away from the institutionalised musical conventions of the 20th century. While contributing to the ongoing documentation of contemporary styles in 21st century Bali, this paper deviates from a more conventional ethnographic methodology, shifting the focus to analysis, which is undergoing a renaissance in ethnomusicology.
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Roberts, Jonathan Fergus. "The politics of participation : an ethnography of gamelan associations in Surakarta, central Java." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:c8975102-b7c8-4e07-874d-9bd3371de216.
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Professional Javanese gamelan musicians and the way they think about and make music have been extensively studied by ethnomusicologists. This thesis shifts the analytical focus to the experience and practice of players in 'gamelan associations' for whom music is neither their primary occupation nor main source of income. It addresses two issues: firstly, who are these musicians and what does their way of playing and conceiving of music tell us about gamelan, and secondly, what opportunities and benefits does participation in these groups afford them. The first section sets out the details and context of fourteen gamelan associations in Surakarta. It examines local terminology for different forms of musicianship, their practice in relation to factors such as recompense for playing, ability, repertoire, and training, and discusses the combination of rehearsal and social gathering which I claim is fundamental to these groups. I argue that, whilst there is significant diversity among gamelan associations and their members, they represent a unified category of musicians distinct from those who are officially employed to play and that the specific benefits they obtain from playing derive from this non-professional status. The second section sets out these benefits in five chapters, relating respectively to gamelan's implication in discourses of community at local and state level, expressions of cultural ownership, the display and negotiation of personal authority, access to power, and the production of public sound. I argue that these connections mean that participation in gamelan associations is not simply recreational but a potentially powerful way for Solonese people to create meaning and influence for themselves amidst the competing models of modernity and rapid political change of contemporary Indonesia.
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Watson, Gary Steven. "Shared intellectual property and the maintenance of cosmic order : an investigation into the significance of melodic sampling and transformation in the creation of new gending in Balinese gamelan music." Thesis, The University of Sydney, 2000. https://hdl.handle.net/2123/27753.
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The use of melodic material sampled from pre-existing gamelan works for incorporation into newly created ones is a commonplace of Balinese musical practice. Borrowed material may be incorporated into a new work in its original form, with little or no significant melodic modification, but more frequently it is transformed in some way in the melding process. Both the nature and extent of this transformation tend to be conservative, however, such that the melodic origins of the sampled material remain apparent. The reasons for a conservative approach to the practice of melodic sampling can be traced to core social attitudes and practices intimately bound up with the traditional religious belief system of the Balinese people. At the heart of the association between creative musical and socioreligious practice is, on the one hand, an obligation on the part of every Balinese Hindu to venerate the common good of a cumulative ancestral heritage, yet in a way that both preserves and transforms it. Closely allied to this is an abiding aesthetic desire for balance and unity in all things, informed by fundamental religious precepts and the perception that not only the living Balinese, but also the spirits of their deceased forebears and the collective good associated with them participate actively in all daily undertakings in an encompassing past-in-present field of interaction that is both real and conceptual. Within this social/religious context, the nature and significance of the musical practice of melodic sampling and transformation in the creation of new gamelan works in Bali is discussed and analysed.
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Sudirana, I. Wayan. "Gamelan gong luang : ritual, time, place, music, and change in a Balinese sacred ensemble." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44243.
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Gamelan gong luang is a rare and sacred music ensemble performed in Bali, Indonesia. Its origins are only speculative, but it is believed to have existed before the arrival of migrants from Hindu Majahapahit Java in the 14th century. Today few Balinese have interest in learning to perform this music, which is intimately intertwined with ritual practices. My research involves the study of two interrelated aspects of this complex musical tradition. First, I focus on gamelan gong luang’s history, instrumentation, social organization, and function within Balinese society. And second, I focus on gamelan gong luang’s musical structure using analytical perspectives. Additionally, and in consideration of the results of my research, I reflect on gamelan gong luang’s future.
I have two goals in writing this dissertation. First, I want to challenge younger generations of Balinese musicians that often fail to recognize the value of this musical tradition. Today, more diverse and rapidly developing modern musics, like the exciting world of gamelan gong kebyar, capture the attention of young musicians. To these young people gamelan gong luang is old-fashioned and unexciting. This research elucidates many of the unique characteristics of gamelan gong luang, and highlights new potentialities for its appreciation and thus continuance. I will also show that musical characteristics of gamelan gong luang live on in their transformation at the hands of many Balinese composers. My conclusion is that the loss of this ensemble would seriously damage the continuity of social and religious life in some places that rely heavily on its use in ritual, and for all of Bali and the world at large, a loss of cultural heritage.
I also want to challenge misleading representations of Balinese music produced by non-Balinese scholars. In earlier publications, Western scholars (Small 1977, Kramer 1988) have stated that Balinese music is non-linear, with cyclic structures that repeat seemingly without end. Utilizing research methods acquired throughout my graduate studies in the Western scholarly world, and my lifelong training as a Balinese musician, I have created an in-depth analysis of gamelan gong luang music that shows that such interpretations are mistaken.
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Swindells, Rachel. "Klasik, kawih, kreasi : musical transformation and the gamelan degung of Bandung, West Java, Indonesia." Thesis, City University London, 2004. http://openaccess.city.ac.uk/8415/.
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The degung is a small game lan that is unique to the Sundanese people of West Java. Originating as a prestigious ensemble for the local nobility and formerly confined to the region's administrative courts, the provincial capital city of Bandung has been the geographic focus for the degung tradition since the first decades of the 20'h century. Following sixteen months of fieldwork in Bandung, the dissertation examines the evolution of the gamelan degung in the musical melting pot of this bustling urban centre. Situating the ensemble within the heterogeneous landscape of Bandung's regional arts scene, it considers the way in which degung has come to be positioned as a musical 'common ground' for performers hailing from a variety of socio-cultural and musical backgrounds, as well as a site for the negotiation and assimilation of repertoires and performance practices drawn from across the wider Sundanese music complex. Central to this investigation is the theme of musical transformation, a topic that is explored from several interrelated perspectives. Piecing together a history of the ensemble, the study correlates musical innovations to socio-cultural, politico-economic and technological developments, as well as to broader shifts in Sundanese music as a whole. Specific attention is paid to the ongoing popularisation of degung by the local cassette industry and the role that 'invented' ceremonials have played in the ensemble's postcolonial renaissance. Interweaved into this chronological survey are more focused analyses of the core and specialist skills of the musicians and the intrinsic malleability of the music systems that lie at the heart of such musical change. Transformation is identified as a primary domain of Sundanese musical competence, with processes of transfer and adaptation shown to permeate the creation and realisation of degung repertoires. These diachronic and synchronic accounts of musical transformation are considered to complement rather than to contrast with one another; it is argued that the manner in which the degung has adapted to its altering 'external' environment over time has been determined, at least in part, by the essential constitution and 'internal' dynamics of the larger musical culture in which the ensemble is rooted.
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Loth, Helen. "An investigation into the relevance of gamelan music to the practice of music therapy." Thesis, Anglia Ruskin University, 2014. https://arro.anglia.ac.uk/id/eprint/578535/1/PhD%20thesis%20Helen%20Loth%20for%20ARRO.pdf.
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This study investigates the use of Indonesian gamelan with participants who have special needs or with special populations, and considers what the playing of gamelan music has to offer music therapy practice. The gamelan is an ensemble of instruments on which the traditional music of Indonesia is played, consisting of mainly tuned and un-tuned percussion instruments tuned to four, five or seven tone scales. Gamelan are being increasingly used for music activities with participants who have special needs, such as learning disabilities, mental health problems or sensory impairments, and with special populations, such as prisoners. Whilst aims are broadly educational, therapeutic benefits are also being noted.
There is little research into the effectiveness of this use of gamelan; the therapeutic benefits have not been researched within the context of music therapy. As an experienced music therapist and gamelan musician, I considered that investigating the potential for using gamelan within music therapy would produce new knowledge that could extend the practice of music therapy.
Various qualitative methods within a naturalistic paradigm were used to investigate current and past practice of gamelan playing with special needs groups and to identify the therapeutic benefits. Semi-structured interviews were undertaken with gamelan tutors working in this area and a music therapy project using gamelan with a group of children who had learning difficulties was undertaken by the author. Using a thematic approach to the analysis of data, the key features of gamelan playing which have relevance for music therapy practice were identified.
Gamelan playing was found to have a range of therapeutic benefits which can be used intentionally by a music therapist to address therapeutic aims. It was found firstly that the playing of traditional gamelan music can be used for specific therapeutic purposes and secondly, that the music and instruments can be adapted and used within various music therapy approaches and for participants with a range of disabilities. A set of guiding principles are also proposed for the use of this new music therapy practice.
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Loth, Helen. "An investigation into the relevance of gamelan music to the practice of music therapy." Thesis, Anglia Ruskin University, 2014. http://arro.anglia.ac.uk/578535/.
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This study investigates the use of Indonesian gamelan with participants who have special needs or with special populations, and considers what the playing of gamelan music has to offer music therapy practice. The gamelan is an ensemble of instruments on which the traditional music of Indonesia is played, consisting of mainly tuned and un-tuned percussion instruments tuned to four, five or seven tone scales. Gamelan are being increasingly used for music activities with participants who have special needs, such as learning disabilities, mental health problems or sensory impairments, and with special populations, such as prisoners. Whilst aims are broadly educational, therapeutic benefits are also being noted. There is little research into the effectiveness of this use of gamelan; the therapeutic benefits have not been researched within the context of music therapy. As an experienced music therapist and gamelan musician, I considered that investigating the potential for using gamelan within music therapy would produce new knowledge that could extend the practice of music therapy. Various qualitative methods within a naturalistic paradigm were used to investigate current and past practice of gamelan playing with special needs groups and to identify the therapeutic benefits. Semi-structured interviews were undertaken with gamelan tutors working in this area and a music therapy project using gamelan with a group of children who had learning difficulties was undertaken by the author. Using a thematic approach to the analysis of data, the key features of gamelan playing which have relevance for music therapy practice were identified. Gamelan playing was found to have a range of therapeutic benefits which can be used intentionally by a music therapist to address therapeutic aims. It was found firstly that the playing of traditional gamelan music can be used for specific therapeutic purposes and secondly, that the music and instruments can be adapted and used within various music therapy approaches and for participants with a range of disabilities. A set of guiding principles are also proposed for the use of this new music therapy practice.
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Varsányi, András. "Gong ageng : Herstellung, Klang und Gestalt eines königlichen Instrumentes des Ostens /." Tutzing : H. Schneider, 2000. http://catalogue.bnf.fr/ark:/12148/cb37121548j.
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Jacquemart, Nathalie. "Transmission et techniques d'apprentissage d'un savoir traditionnel : étude ethnolinguistique et ethnomusicologique de la musique de Gamelan (Java central)." Paris 5, 1997. http://www.theses.fr/1997PA05H081.
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Les gamelans sont des orchestres de musique traditionnelle javanaise, composés essentiellement de métallophones et de gongs. Ils jouent de la musique pure, accompagnent des danses, le théâtre d'ombres et d'acteurs. Cette musique joue un rôle essentiel dans la vie culturelle de Java Central: mariages, festivités, concours, détente. Les nombreux orchestres rassemblent des gens de tous les milieux. Le gamelan trouve sa place dans les entreprises publiques et privées, les associations de quartier et de village. La radio, les centaines de cassettes, les concerts traduisent l'engouement de la population. Liée à ce développement, la transmission a fortement évolué. Des notations chiffrées existent depuis le début du siècle et sont utilisées par tous. Le premier conservatoire d'Indonésie est ouvert à Surakarta en 1950. Des cours sont aussi donnés, pour les nombreux groupes amateurs, par des musiciens formés ou non en milieu scolaire. Mais on constate que leurs pédagogies sont très semblables. Si la musique tend à se figer, les transmetteurs utilisent néanmoins des procédés d'apprentissage qui permettent de maintenir la richesse et la diversité d'interprétation. Cette étude apporte donc des données sur la transmission d'une musique traditionnelle (rarement étudiée), la société et la culture javanaises - la musique révélant des caractéristiques générales de la culture -, et sur la spécificité des pratiques musicales du gamelan à travers leur évolution actuelle. Elle a impliqué un investissement croisé de la linguistique (utilisation d'une méthodologie ethnolinguistique), de l'anthropologie (conception générale de la thématique de l'apprentissage) et de l'ethnomusicologie (dégagement d'un système par le biais privilégié de la pédagogie, et aussi par l'organologie). On a ainsi pu dégager que l'apprentissage, comme objet d'étude, permettait d'accéder aux systèmes, dans leurs dimensions structurelle, historique et socioculturelleGamelans are traditional javanese music orchestras, essentially composed of metallophones and gongs. They play pure music, accompaniement for dances, shadows and actors theatre. This music plays an essential function in cultural life of central Java: weddings, festivities, competitions, relaxation. The numerous orchestras assemble people from every parts of population. Gamelan takes place in public and private entreprises, district and village associations. Radio, hundred of cassettes, concerts prove population's fancy. Linked to this development, transmission has stronglu evolved. Ciffer notations exist since the beginning of this century. They are used by everyone. The first conservatory of Indonesia was created in Surakarta, by 1950. Lessons are also given, for the numerous amateur groups, by musicians formed or not at school. But we can observe that their pedagogic methodes are very similar. If music tends to be fixed, teachers use, nevertheless, learning methods which permit to preserve richness and diversity of performance. This study brings knowledge on transmission of tradional music (rarely studied), javanese society and culture (music reveals general characteristics of culture), and on specificity of gamelan's musical practices through their present evolution. It has implied crossed investment of linguistics (ethnolinguistic methodology), anthropology (general conception of theme of learning) and ethnomusicology (bring out a system by preferential way of pedagogy, and organology). We can bring out that learning, as subject of study, permits to reach systems, in their structural, historical and sociocultural dimensions
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Trout, John William. "Waton Kumpul ("as long as we get together") : cultural preservation of the community Uyon-Uyonand Latihan Karawitan tradition in Sleman, Yogyakarta, 2004-2006 /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin1181933777.
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Thesis (Ph. D.)--University of Cincinnati, 2007.Advisor: Dr. Bruce D. McClung. Title from electronic thesis title page (viewed Nov. 27, 2007). Includes abstract. Keywords: cultural preservation; Karawitan; Sleman; Yogyakarta; Javanese; Gamelan; Java; Sanggar. Includes bibliographical references.
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Stratford, Claire Louise. "Performance, presentation and transmission of traditional Javanese gamelan drumming, with special reference to the Kendhang Ciblon in Solo, Central Java." Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/6160/.
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This thesis considers the role and cultural presentation of the kendhang (drums) with special reference to the ciblon (medium-sized drum) within the gamelan ensemble in Solo, central Java. Amongst the extensive literature on gamelan music there has thus far been relatively little focus on the kendhang or more specifically the ciblon’s function and presentation in the ensemble. I explore these areas with particular reference to the performance, presentation and transmission of Javanese gamelan drumming. My primary research was conducted through participation, observation and interviews during fieldtrips to Solo, central Java between 2009-2010. The klenèngan performance setting involves the intersection of many key ideas explored over the course of this thesis. Primarily through my fieldwork interview findings conducted in Solo, I explore who plays the kendhang in Solo today and why some musicians are so highly regarded by others. Gamelan players are often multi-instrumentalists, so many of the ensemble’s musicians may have some drumming experience and be aware of drum strokes and signals, but the drummer still leads the gamelan in terms of tempo and also provides a unique layer of texture within the ensemble. I explore the role and function of the drummer and provide descriptions of drumming structures and notation derived from my fieldwork. I also explore how drumming is transmitted amongst musicians. Within my thesis I therefore aim to provide a view of the kendhang scene within Solo today and in doing so I explore who plays the kendhang and what is played in the gamelan performance setting as well as how drumming is presented and transmitted.
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Pugh, Charlotte. "A gamelan composition portfolio with commentary : collaborative and solo processes of composition with reference to Javanese karawitan and cultural practice." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/8183/.
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This composition portfolio is an exploration of different collaborative compositional processes, and an examination of their outcomes, which include both the actual music produced, and an account of my personal creative development. It is a journey from collaboration to solo composition. It is also an examination of the close connections between karawitan (the traditional Javanese gamelan repertoire) and new music for gamelan, and how the latter can widen the boundaries of karawitan. The portfolio seeks to develop my own style and musical language through collaborations, in different ways. Gamelan music and gamelan instruments are natural resources in view of the collaborative processes that are intrinsic to karawitan, which I have translated into my compositional processes.
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Pope, Julia. "Indonesian Gamelan in Australian and New Zealand Schools: Towards a Vitality and Sustainability Framework for School-Based Culturally Diverse Music Programs." Thesis, Griffith University, 2022. http://hdl.handle.net/10072/414912.
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Increases in the cultural and ethnic diversity of many societies since the mid-twentieth century and the reality of the multicultural classrooms within which school teachers work today have led many educators to believe there is a need for students to develop greater intercultural understanding (Draisey-Collishaw, 2004; Hayden & Thompson, 1998). Many music education policies and curricula have changed to incorporate a broader view of what types of music should be studied in schools (Volk, 2004). One approach to developing more culturally responsive and diverse programs for music learning and teaching has been to introduce into schools a range of musics and ensembles, such as Indonesian gamelan. Gamelan are traditional instrumental ensembles from Indonesia and Malaysia consisting largely of bronze or iron metallophones, gongs of various shapes and sizes, and drums. This thesis explores the attitudes, beliefs, approaches and experiences of teachers in the context of teaching and learning Indonesian gamelan in schools in Australia and New Zealand.
Gamelan in schools in Australia and New Zealand exist in a range of contexts. Some form the basis of vibrant and innovative educational programs with wide-reaching effects. Others, after an initial period of activity, spend years in school storerooms and are rarely, if ever, used again. Considering the rarity and cost of a set of these instruments, and their significant potential for teaching intercultural understanding in addition to a wide range of musical skills, why are some of these gamelan so underused? What factors affect the vitality and sustainability of school-based gamelan programs? This project examines teachers’ perspectives on school-based gamelan programs and, in particular, investigates the myriad influences on the sustainability and vitality of such programs. Data collection involved semi-structured interviews with teachers and representatives of school management in 23 schools in Australia and New Zealand with gamelan programs. I modified the Music Vitality and Endangerment Framework (Grant, 2014, p. 111) for use as an instrument to initiate discussion with interviewees about their specific programs and contexts, explore and describe these school-based gamelan programs and compare programs across schools.
The Introduction (Chapter 1) to this thesis presents the context and rationale for my research, the research question and aims. Chapters 2 and 3 comprise a review of relevant scholarly literature, publications and curriculum documents relating to cultural diversity in music education and literature concerning teaching and learning gamelan. Chapter 4 details the study’s methodology and theoretical and conceptual frameworks, as well as the research design, data collection and analysis methods. Chapter 5 presents the findings from the data analysis. Chapters 6 and 7 describe and examine the stages involved in my development of a theoretical framework for gauging the vitality and sustainability of culturally diverse music (CDM) programs in schools. Chapter 8 concludes the thesis, discusses the research outcomes and provides recommendations for action and future research.
This study aims to shed light on a little-explored aspect of CDM education in Australia and New Zealand and to contribute to scholarly understanding of the role that CDM programs can and do play in school-based education in Western countries. The insights gained from this research project may help educators, school management, policymakers and community stakeholders better support the vitality and sustainability of gamelan and other CDM programs in schools, and thus help students reap the many potential benefits of these programs.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Nguyen, Hoang hau. "L'influence de la musique asiatique sur la composition chez Claude Debussy." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040160.
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L’interférence et interaction Europe-Asie sur le plan culturel et artistique qui s’est épanouie durant le XIXe siècle a ouvert une nouvelle réserve de nouveaux matériaux pour la création littéraire et artistique. De cet échange chacun des deux continents a retiré pour lui-même des éléments qui lui étaient bénéfiques aux points de vue littérature, peinture, musique, architecture, et même religion... La thèse intitulée “Influence de la musique asiatique sur la composition chez Claude Debussy” est entreprise dans le but de rechercher les ingrédients exotiques exploités avec grande délicatesse et sensibilité par Debussy – homme progressiste ouvert aux courants nouveaux, symbole de l’Impressionnisme en musique et surtout grande célébrité pour ses nouvelles limites en timbres. L’analyse d’environ 140 œuvres officiellement publiées de Debussy confirme sa grande réussite dans la mise en œuvre des matériaux musicaux Asiatiques. D’autre part, la thèse se propose aussi de montrer cet autre aspect de Debussy, à savoir qu’il était la somme harmonieuse de l’esthéticisme dans l’art Japonais, de la pureté des échelles traditionnelles, et de la témérité dans l’emploi de timbres nouveaux provenant des instruments AsiatiquesThe cultural and artistic interference and interaction that flowered during the 19th century between Europe and Asia brought a new enormous storage of artistic material at the disposal of European artists. Both continents derived from it materials useful to them in terms of literature, paintings, music, architecture and even religion... The present thesis, “Influence of Asian music on Claude Debussy’s composing”, aims at spotting out exotic materials subtly and sensitively brought into play by Debussy – a progressist spirit open to new trends, symbol of Impressionism in music and, above all, top celebrity for his setting of the new limits for timbres. Analysis of 140 Debussy’s officially published works confirms his success in using Asian materials for his music. Moreover, the thesis also manage to bring into light this other aspect of Debussy, as the final and successful product from the blend between Japanese estheticism, purity of the traditional scales and boldness in the use of new timbres from Asian instruments
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Trout, John William. "Waton Kumpul (“As Long As We Get Together”): Cultural Preservation of the Community Uyon-Uyon and Latihan Karawitan Tradition in Sleman, Yogyakarta, 2004-2006." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1181933777.
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Wappel, Jaclyn. "Gamelan and the modern pedal harp of the west| A performer's perspective on hybridized musical influences in the harp chamber works of Bill Alves, Lou Harrison, and Alan Hovhaness." Thesis, Ball State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10251799.
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This study discusses, evaluates, and analyzes the various methods and patterns in which American composers Bill Alves (1960-), Lou Harrison (1917-2003), and Alan Hovhaness (1911-2000) have adapted Indonesian gamelan musical concepts, philosophies, and performance practices in selected Western chamber works that include the double-action pedal harp. In particular, these examples contain notation, instrumentation, musical layers and interactions, and sounds that are inspired by or modeled after Javanese and Balinese musical elements. Greater focus is given to Javanese musical practices, and inherent compositional devices have been discovered in each piece’s structure, rhythm, melody, ornamentation, intonation, and choice of instrumentation or orchestration. Special attention is given to a contextual and musical analysis of the Concerto for Harp and American Gamelan by Bill Alves, which features an unprecedented fusion of Western and Eastern musical practices. It is further evaluated through discussions of “authenticity” in world music, and I provide recommendations as to how a harpist can use this information in order to recreate this piece.
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Cowal, Janet Tom. "Modeling Music with Grammars: Some Examples from Balinese Kotekan." PDXScholar, 1994. https://pdxscholar.library.pdx.edu/open_access_etds/2933.
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What is the relationship of music and language? Analogies and comparisons of music and language are plentiful in various types of literature. For researchers in the cognitive sciences, the importance of organization, patterning, and structuring of sounds is a common theme in analyzing both language and music. With the success of generative grammars for languages, a number of researchers have used similar kinds of grammars to describe or model particular aspects of music. In addition, researchers are interested in possible universals in musical grammars. However, while grammars of non-Western musics have been written, most of the work has been based on Western tonal systems.
The purpose of this research is to analyze, in an information processing, linguistic framework, a non-Western musical system for which there is currently no formal grammar in the literature, and to describe an aspect of it in the form of a grammar. Kotekan, the system of interlocking parts in Balinese game/an music, is examined in this study.
This study is based on library research, scores, tapes, and communication with experts in Balinese music. A number of previously written grammars for musical systems are examined, as well as literature concerning various types of formal grammars. Balinese kotekan data is collected, in the form of literature, scores, and tapes. Portions of the data are described in the form of a grammar. The rules are then tested on new data, that is, portions of other Balinese pieces.
The natures of and the relationship between music and language can be examined more closely through the use of an information processing, linguistic framework. Grammars are a precise and formal way of describing structure and regularities in linguistic and musical systems, and of describing aspects of competence. Linguistic and musical grammars share some features and differ in others.
The grammar for Balinese kotekan presented in this study exhibits features that are similar to other musical grammars. The system can be described as a hierarchy of constraints from global tendencies to specific rules for various types of kotekan. In addition, there are deep and surface structures, variation related to structure, ranked or preference rules, spatio-motor considerations, and the need for context-sensitive rules. The structure of po/os and sangsih (the interlocking parts of kotekan) as individual lines is described by context-free phrase structure rules. The relationship between pol os and sangsih is described by transformations. The grammar presented is a starting point for a complete grammar of Balinese kotekan.
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Revol, Patrick. "Influences de la musique indonésienne sur des musiciens français de 1889 à nos jours." Paris 8, 1998. http://www.theses.fr/1998PA081487.
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Selon une opinion communement admise, l'oeuvre de debussy a ete profondement marquee par la musique javanaise a l'exposition universelle de 1889. Si l'on regarde de plus pres, aucun ouvrage ne prend la peine d'analyser avec serieux cette supposee evidence. Ce travail a pour ambition, dans une premiere partie, d'apporter la preuve de cette influence. Dans une seconde partie nous quittons debussy afin de montrer qu'a sa suite bon nombre de compositeurs francais vont porter une attention toute particuhene a la musique de gamelan. Bien que jamais demontree, l'admiration de debussy pour java est reconnue depuis fort longtemps. En revanche, elle est rarement evoquee a propos de ravel. S'il est vrai qu'elle ne bouleverse pas de facon aussi radicale sa musique, le souffle du gamelan est cependantomnipresent dans laideronnette imperatrice des pagodes. Nous avons consacre quelques pages a l'etude de cette oeuvre et tente de montrer que de nombreux parametres musicaux relevent de techniques extra-europeennes. Si java marque les esprits de debussy et ravel, les artistes francais, a partir des annees 30, vont plutot tourner leurs regards vers bali. Cette nouvelle orientation s'explique par uncertain nombre de raisons a la fois politiques et esthetiques sur lesquelles nous avons apporte quelques eclairages. Nous abordons des oeuvres de messiaen, jolivet, varese, boulez, dutilleux, mache, eloy, aperghis. Nous n'avons nullement cherche a etablir un catalogue complet de compositeurs francais ayant de pres ou de loin un rapport avec la musique balinaise. Notre choix s'est plutot dirige vers un questionnement des materiaux employes par chacun d'eux afin de degager les elements qui relevent de techniques indonesiennes. Bien que notre approche ne soit pas de nature ethnomusicologique, nous avons juge opportun de placer en annexe certains complements d'informations notamment un chapitre sur les instruments, illustre par des photographies que nous avons realisees a java ou baliAccording to a widely-accepted idea, debussy's work was deeply influenced by javanese music at the universal exhibition of 1889. After closer study, it can be noted that no thorough analysis of that supposedly obvious statement has ever been done. In a first part this work aims at bringing the evidence of that influence. In a second part we leave debussy in order to show that, in his wake, a fair number of french composers paid a particular attention to gamelan music. Although it has never been. Demonstrated, debussy's admiration for java has been acknowledged for a long time. However this is rarely mentioned as far as ravel is concerned. Though it does not affect his music in such a drastic way, yet the gamelan influence is omnipresent in laideronnette imperatrice des pagodes. We have devoted a few pages to the study of this work and attempted to demonstrate that a lot of musical parameters pertain to extra-european techniques. If java left a mark on the minds of debussy and ravel, from the 1930's trench artists rather started looking toward bali. This new trend can be explained because of certain number of reasons - both political and esthetic - into which we have given some insight. We deal with works of messiaen, jolivet, varese, boulez, dutilleux, mache, eloy, aperghis. We have not in the least attempted to set up a complete catalogue of trench composers connected with balinese music. We have chosen to study the materials used by each of them in order to single out the elements pertaining to indonesian techniques. Althought our approach is not of an ethnomusicological nature, we have thought appropriate to include further information particularly a chapter on the instruments, illustrated by photographs that we have taken in java and bali
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Vallejos, Omar. "GameLab: Conceptualización y narrativa visual." Universidad Peruana de Ciencias Aplicadas (UPC), 2018. http://hdl.handle.net/10757/623722.
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Exposición en el marco de la "Primera exposición GameLab" de desarrollo de videojuegos, llevado a cabo el 05 de Mayo en la Universidad Peruana de Ciencias Aplicadas (UPC), el Campus Monterrico. Lima, Peru.
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Tomás, Talledo Tomy. "GameLab: Realidad Virtual hoy y oportunidades laborales." Universidad Peruana de Ciencias Aplicadas (UPC), 2018. http://hdl.handle.net/10757/623495.
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Exposición en el marco de la "Primera exposición GameLab" de desarrollo de videojuegos, llevado a cabo el 05 de Mayo en la Universidad Peruana de Ciencias Aplicadas (UPC), el Campus Monterrico. Lima, Peru.
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Mohlin, Oliver. "Gamification och Gameplay : Att höja motivationen med hjälp av gameplay." Thesis, Högskolan i Skövde, Institutionen för kommunikation och information, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-8175.
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Denna studie har undersökt hur en användares motivation att samla mynt i ett serious game påverkas av att dessa är sammankopplade med spelets gameplay. För att undersöka detta har två versioner av ett serious game skapats, ett där mynt endast kan användas för att köpa kosmetiska uppgraderingar och ett där uppgraderingarna som kan köpas, utöver kosmetiska förändringar, även påverkar spelets gameplay. 12 personer har deltagit i testet och värderat hur mycket motivation de känt då de spelat spelen. Resultatet tyder på att det inte existerar någon markant skillnad mellan hur mycket motivation testdeltagarna kände inför att samla mynt i de båda versionerna. Undersökningen skulle kunna utvecklas genom att fler tester utförs på flera olika typer av mjukvaror.
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Kilgore, Chad Michael. "Medium of gameplay." [Ames, Iowa : Iowa State University], 2007.
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Holopainen, Jussi. "Foundations of Gameplay." Doctoral thesis, Karlskrona : Blekinge Institute of Technology, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-00484.
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People in all known cultures play games and today digital gaming is an important leisure activity for hundreds of millions of people. At the same time game design has developed into a profession of its own. There are several practical game design guidelines and text books but they rarely manage to connect their findings into relevant areas of research such as psychology and design research. Understanding game design, both as an activity and as an end result of that activity, in a more profound way could alleviate this problem. The main goals of this thesis are to understand in a more profound way how to design games and based on that understanding develop frameworks and methods for aiding game design. By extending knowledge about game design can not only improve the quality of the end-products but also expand the potential design space even in unpredictable ways. Game design contains many sub-areas. Character, story, and environment design are integral parts of the current game development projects. The aim of this thesis, however, is to have a critical and exploratory look at structures of gameplay as design material. Gameplay is the interaction between the game rules, challenges, elements, and players.In one sense gameplay defines the game. The focus of the thesis is mainly analytical, although parts of the results are based on practical research through design activities. The thesis contributes to game research in three interralated ways: (1) An analytical contribution to understanding gameplay was done in the gameplay design patterns work. The patterns are described as an approach to both analyse existing games and aid in designing new games. The patterns describe recurrent gameplay and also analyse these structures from the design material point of view. (2) A theoretical study of basis for gameplay experiences was conducted through review of relevant models and theories in neuroaesthetics, cognitive and social psychology and game research. The framework offered in the thesis explains why certain gameplay structures are more recurrent based on defining gameplay as caricatures of intentional behaviour. (3) The game design patterns approach and research through design projects have contributed to the analysis of game design as an activity and practical guidelines for concrete design work in more specific areas of game design. The goals of this thesis are ambitious and many questions are left unanswered. Using the patterns approach in conjunction with game design and ideation methods is still in its infancy. The concept of gameplay as caricatures of intentional behaviour should be explored further, especially in conjunction with other theories and frameworks relevant for understanding gameplay experience such as user engagement, immersion, and presence. Empirical experiments validating or falsifying this view on gameplay would be valuable as further contributions to game research.
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Oeltjen, Marisa A. "Exploring a Golfer’s Mental Game:An Intrapersonal Communication Study." University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1478967539825187.
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Nordqvist, Petter. "Effekt av gameplay på lärande." Thesis, University of Skövde, School of Humanities and Informatics, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-4174.
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Syftet med uppsatsen är att försöka determinera vilken effekt mer avancerade gameplaymoment i serious games har på inlärning. Bakgrunden går igenom nyckelbegreppen gameplay och varför mer avancerat gameplay kan leda till mer effektiva lärospel tack vare förbättrat flow. Skriftspråket kanji förklaras kort och de problem som människor som försöker lära sig det ofta stöter på.En studie har utförts med hjälp av fyra olika spel med syftet att lära ut kanji. Tre av dessa spel har designats så att de endast skiljer sig i hur avancerat deras gameplay är. Dessa spel har testats mot varandra för att se om de var olika effektiva på att lära ut kanji. Testpersoner fick efter de spelat igenom spelen och lärt sig 50 kanji utföra ett glostest för att visa på hur mycket de lärt sig. Den data som samlats in har analyserats och ingen signifikant skillnad i inlärningen mellan de olika spelen har visat sig.Slutsatsen pekar på att det går att implementera mer avancerat gameplay utan att negativt påverka inlärningen. Mer avancerat gameplay kan dock tillföra andra fördelar för användare i form av ökad motivation. Vissa testpersoner föredrog de enklare spelen så en annan slutsats blir att om det går att ge användare möjligheten att själva kontrollera nivån av gameplay så kan detta leda till den mest effektiva slutprodukten.
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Fekete, Lorand, and Maria Hagelbäck. "Gameplay experience with eye tracking." Thesis, Blekinge Tekniska Högskola, Sektionen för datavetenskap och kommunikation, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-5320.
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This study is about how a person who is used to play games experiences playing a game with their eyes as input. The participants played a 3D game where the player had to collect coins by moving a ball over them. The participants first tried the game with keyboard as input and then right after only interacting by gazing via screen. The achieved score was recorded both for input from keyboard and input from eye. After the game session the participants were asked to answer two questionnaires that contained questions about their background and questions referring to the game they just played. The experiment was performed in a lab with a TobiiT60 eye tracker. All participants got lower score when they used eye tracking as input but most of the participants found it to be more fun. We reached the conclusion that, with the game used in our experiment, the participants felt that gaining a high score was not the most important. Instead they ranked having fun as a more important factor. Our experiment has shown that using an eye tracker can make a casual game more fun.
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Eyles, Mark. "An investigation of ambient gameplay." Thesis, University of Portsmouth, 2012. https://researchportal.port.ac.uk/portal/en/theses/an-investigation-of-ambient-gameplay(323edcb3-ad44-4db1-ac15-dfacdc3b1d3a).html.
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Inspired by Brian Eno's ambient music, which is persistent and supports different levels of engagement, this research explores ambient gameplay in computer, video and pervasive games. Through the creation of original games containing ambient gameplay and looking for ambient gameplay in existing commercial games, this research focuses on gameplay that supports a range of depths of player engagement. This research is not concerned with ambient intelligent environments or other technologies that might support ambience, but focusses on gameplay mechanisms. The definition of ambient music is used as a starting point for developing a tentative set of properties that enable ambient gameplay. A game design research methodology is initially used. Two very different research games, Ambient Quest (using pedometers) and Pirate Moods (using RFID, radio-frequency identification, technology) are analysed. The resulting qualitative ambient gameplay schema contains themes of persistence, discovery, engagement, invention, ambiguity and complexity. In order to confirm the wider applicability of this result a case study of an existing commercial game, Civilization IV, is undertaken. Ambient gameplay properties of engagement, complexity, abstraction, persistence and modelessness identified in Civilization IV, and other commercial games, are combined with the ambient gameplay schema to develop a definition of ambient gameplay. This definition is the basis for a set of investigative lenses (lenses of persistence, attention, locative simultaneity, modelessness, automation and abstraction) for identifying ambient gameplay. This research creates a deeper understanding of computer games and hence gives game designers new ways of developing richer gameplay and gives games researchers new ways of viewing and investigating games.
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García, Soto Jorge. "Segunda exposición GameLab: Desarrollo de juegos en el mercado local." Universidad Peruana de Ciencias Aplicadas (UPC), 2018. http://hdl.handle.net/10757/623766.
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Exposición en el marco de la "Segunda exposición GameLab" de desarrollo de videojuegos, llevado a cabo el 02 de Junio en la Universidad Peruana de Ciencias Aplicadas (UPC), el Campus Monterrico. Lima, Peru.Esta exposición trata del ambiente del desarrollo de juegos local y cuales son las opciones para presentar un juego al público y a la vez generar algún tipo de ingreso con ello (Advergames, News Games, Juegos freemium con ads, Plataformas de publicación, Contacto con publishers, etc.)
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Seymour, John. "Syncretisms for wind quintet and percussion: A study in combining organizational principles from Southeast Asian music with western stylistic elements." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6055/.
Full textAbstract:
Syncretisms is an original composition scored for flute, oboe, clarinet, horn, bassoon, and marimba (2-mallet minimum, 4 recommended) with an optional percussion part requiring glockenspiel and chimes, and has an approximate duration of 6 min. 45. sec. The composition combines modern western tuning, timbre, and harmonic language with organizational principles identified in music from Southeast Asia (including music from cultures found in Thailand, Cambodia, Malaysia, and Indonesia). The accompanying paper describes each of these organizational principles, drawing on the work of scholars who have performed fieldwork, and describes the way in which each principle was employed in Syncretisms. The conclusion speculates on a method for comparing musical organizational systems cross-culturally.
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Wilson, Jason Anthony. "Gameplay and the Aesthetics of Intimacy." Thesis, Griffith University, 2007. http://hdl.handle.net/10072/365610.
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This thesis examines early videogames in relation to a number of current and emerging topics in videogame aesthetics.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts Media and Culture
Arts, Education and Law
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Pech, Andrew. "Evolving gameplay elements into virtual terrains." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2147.
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With advancements in technology, consumers are expecting higher quality and more detailed video game content. This puts a strain on video game companies and their developers as they are required to manually design and create increasingly complex video game content. Procedural content generation can alleviate this burden by using technology to automatically generate video game content, effectively reducing development time and budget. This thesis presents a novel approach towards procedurally generating video game terrains that meet a set of gameplay requirements as specified by the user. This approach uses a genetic algorithm to evolve a set of modifications that, when applied to a user-specified terrain, incorporates the desired gameplay elements. This approach can aid developers by reducing time spent manually creating and editing video game terrains.
An important aspect of this research involved designing a set of measures capable of characterising gameplay elements. A collection of isovist and graph-connectivity measures were discovered that can characterise different types of gameplay elements so that they can be automatically identified in a video game terrain. This set of measures may be useful in other procedural methods and related fields.
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Räisänen, Kalle. "Bilden av "Gameplay" i spelrecensioner : Lingvistisk och komparativ analys av gameplay-begreppet i professionella spelrecensioner och i spelforskningslitteraturen." Thesis, Örebro universitet, Handelshögskolan vid Örebro universitet, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-14077.
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Kanno, Kamisato Juan Hitoshi. "GameLab: 10 Tips para que tu ciclo de desarrollo no sea eterno." Universidad Peruana de Ciencias Aplicadas (UPC), 2018. http://hdl.handle.net/10757/623494.
Full textAbstract:
Exposición en el marco de la "Primera exposición GameLab" de desarrollo de videojuegos, llevado a cabo el 05 de Mayo en la Universidad Peruana de Ciencias Aplicadas (UPC), el Campus Monterrico. Lima, Peru.
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Evanz, Renzo Guido. "Segunda exposición GameLab: Organización y marketing en la industria peruana de videojuegos." Universidad Peruana de Ciencias Aplicadas (UPC), 2018. http://hdl.handle.net/10757/623767.
Full textAbstract:
Exposición en el marco de la "Segunda exposición GameLab" de desarrollo de videojuegos, llevado a cabo el 02 de Junio en la Universidad Peruana de Ciencias Aplicadas (UPC), el Campus Monterrico. Lima, Peru.El tema del desarrollo de videojuegos, en la actualidad peruana, esta muy marcado, pero, los estudios y las personas no tienen claro como ofrecer su producto o a ellos mismos. Es por eso, que los temas de marketing, viralizacion, distribucion y exposicion son muy excasos; sin embargo, varios de los estudios tienen una historia que contar y pequeños trucos que pueden ser de mucha utilidad para las personas que comienzan y quieren generar ingresos con el desarrollo de videojuegos.