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Dissertations / Theses on the topic 'Music Gamelan'
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1
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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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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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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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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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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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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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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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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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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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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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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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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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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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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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/.
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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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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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Ahlm, Andreas. "Att skriva musik för filmtrailers respektive speltrailers : Inom genren action." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-12402.
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Uhlán, Angelica, and Elias Larsson. "Musik som designverktyg : En analys av hur sex plattformsspel karaktäriserar platser och gameplay." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-22231.
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Musik är en stor del av digitala spel och kan användas i flera syften. Vi har i denna uppsats undersökt hur sex olika plattformsspel använder musik för att karaktärisera olika platser i spelvärlden. Vissa av dessa platser, till exempel bossbanor, karaktäriseras även av ett visst spelmoment, därför har vi även undersökt ifall musiken förändras i samband med en förändring i gameplay. Den musikaliska komponent vi fokuserat på är tempo. De spel vi analyserat kommer från ett brett spektrum inom två generationer, tre som anses vara klassiker för sina respektive plattformar och tre moderna titlar. Vi fann att det finns likheter i användningen av musik för att gestalta en tematisk miljö mellan de äldre och yngre spelen, men hur musiken används i relation till gameplay är mer individuellt utefter spelets typ.
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Andersson, Anders-Petter. "Interaktiv musikkomposition." Doctoral thesis, Högskolan Kristianstad, Sektionen för hälsa och samhälle, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-9771.
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This dissertation, titled Interactive Music Composition, is a practice based Ph.D. thesis in the field of Musicology. The purpose is to explore if and how one can compose computer based interactive music, that is musically satisfying for an interacting audience, consisting of both laymen and skilled musicians. The text describes the design and reflection in two interactive music installations: Do-Be-DJ, open-air installation in a public park, and, Mufi, with modular and moveable interface. Based on methods and perspectives in Musicology and Interaction Design, a composition model for interactive music is developed. The model investigates the experience dimensions listen, explore, compose and collaborate. It also investigates the design dimensions of interaction, narrative structure, composition rule and sound node. The conceptual approach is to apply improvisation and composition methods from jazz, pop and groove based music on interactive music. It also uses the concepts of openess in musical structures and interpretation, musical mediation of actions and meaning and everyday use of music, when composing interactive music. The dissertation contributes to an understanding of how to create composition techniques for interactive music, such as: Direct, varied and shifting response. It reflects on the change in meaning of the musicological terms composition, improvisation, musical work, listener, musician and audience. And on the interaction design terms interaction, gameplay, system and user. The term co-creator is used to describe an actively, interacting and collaborating person, to complement traditional terms like audience, performer and user.Ljudfiler till avhandlingens bilaga 1, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Do-Be-DJ, Interaktiv installation, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Mufi I och II, Interaktiv installation, http://musicalfieldsforever.com/mufi_more.html; Doktorandtjänsten finansierades av Interactive Institute; Musikinspelning finansierades av Framtidens Kultur genom Skiften på Malmö högskola
Interaktiv musikkomposition
Interactive Music Composition
Interaktiv ljuddesign
Interactive Sound Design
Musik och Hälsa
Music and Health
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McGraw, Andrew Clay. "Musik kontemporer experimental music by Balinese composers /." 2005. http://catalog.hathitrust.org/api/volumes/oclc/68117655.html.
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Huang, Li-Ya, and 黃莉雅. "Toward to Gong - Chime Culture of Southeast Asia - A Research to the Gamelan Music." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/78319338381881726618.
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Serafini, Sandra. "Timbre perception of cultural insiders : a case study with Javanese gamelan instruments." Thesis, 1993. http://hdl.handle.net/2429/1459.
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It has recently become more common to combine methodologies from the fields of ethnomusicology and psychoacoustics to address fundamental questions concerning music perception. Ethnomusicology emphasizes cultural context when examining the different ways musical sounds are organized. Psychoacoustics explores the relationships between perceptual processes and physical properties of sound. The methodologies of both disciplines are crucial in developing a cross-cultural cognitive theory of music. A perception experiment was performed on two groups of Western musicians: one with training in Javanese gamelan music (the Gamelan group), and one without training in Javanese gamelan (the Western group). This study examined whether changes in timbre perception occurred in adults who were trained in another culture's music compared to naive listeners. The two groups' perceptions were also compared between an isolated tone and a melodic context to determine where the effects of training were most salient. A mathematical technique known as Multidimensional Scaling (MDS) showed that all subjects based their ratings on two factors during both contexts. In the isolated tone context, the two subject groups did not differ in their timbre perception. In the melodic context, the subject groups diverged in a statistically significant manner. Multiple regression analysis showed that in the isolated tone context, attack centroid (a measure of the spectral energy distribution during the initial 50 milliseconds of the tone) was emphasized almost equally by both groups, along with an unknown psychological factor. In the melodic context, the Gamelan group focused their attention almost completely on the attack centroid while the Western group focused their attention roughly the same between the attack centroid and the middle portion of the amplitude envelope. These results indicate that timbre perception in the music of another culture is modified when a listener has received training in that music, even as an adult. A musical context is needed for these modifications to become apparent, however, otherwise training has no effect on processing timbre. It would appear that attention is directed to acoustical properties that provide meaning to a musical context by those listeners who are familiar with that context. Conversely, listeners who are naive of another culture's musical contexts do not focus their attention on those specific acoustical properties.
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Cheng, Yu-Chao, and 鄭幼詔. "The Indonesian Music “Gamelan” Influenced by Western Musical Culture in the Cases of Yogyakarta in Central Jawa." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/86369029270767814783.
Full textAbstract:
碩士國立臺南藝術大學
民族音樂學研究所
100
Indonesia, a multi-island country, is situated in Southeast Asia, and its location on an important line of communication results in its cultural variety. In the terms of history, its culture is influenced by the religion, music, literature, drama from China, India, the evasion of western civilization, Portugal, England, and being the colony of Netherland for over three hundred years make Indonesian culture with color of complexity and integration. Gamelan the indispensable representation of the traditional Indonesian music is featured with its percussion and widely spread in local folk activities. Since Western forces gradually occupied Java from its coastal areas and Netherland formed Danish East India Company in 16th century, the colonial policies have been adopted in Java in the way of education and local development, which makes the western culture root into Javanese society. However, with the adaption to social changes, Gamelan, with a strong link to Javanese folks, bends other racial music features and also retains its original musical characteristics and structure (scale). Nowadays, Gamelan has gradually developed unique music performance forms and tunes. It is hoped that follow-up research can examine the development and evolution of the gamelan music of Yogyakarta in Central Java and also focus on the relationship between western notation and Central Javanese notation observed from the Gamelan activities in Central Java, providing an overall explanation and making a concrete contribution to the study of this topic.
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Hartana, Sutrisno Setya. "Origins, journeys, encounters: a cultural analysis of wayang performances in North America." Thesis, 2017. http://hdl.handle.net/1828/8047.
Full textAbstract:
This dissertation examines an Indonesian-North American version of an evolving, transnational and hybrid multimedia art form which has come about through forty years of adaptations made by cross-culturally located artists in creative conversation with Indonesian performers involved in the Javanese and Balinese forms of musical theatre known as wayang.
Wayang theatre employs puppets and other components including gamelan music (Indonesian percussion instruments, drums, flutes, strings and vocals). Given this complexity, there are many possibilities for variations, changes, and hybridization. In this research project, I analyze aspects of this hybrid performance by analyzing select Indonesian-North American wayang performances, as case studies.
In order to isolate complex changes and various adaptations of wayang performances in the North American setting, I also analyze and contextualize a hybridization of Javanese and Balinese wayang performances. As a performance art form, wayang has always been changing historically—at some points more quickly and dramatically than at other periods of time, thus resisting firm categorization that would provide a baseline for comparison. I have developed the wahiyang theoretical framework as an analytical tool to identify the influence of North American culture on the wayang performances in my case studies.
I argue that new genre of wayang is emerging, creating a hybridized form that I call wahiyang gaya NA. This process has progressed to the point that wahiyang gaya NA can be said to represent a new genre of multimedia world art, which combines elements of local and global artistic practises, making the form even more flexible and adaptable than its original forms in Indonesia.
The gradual spread and popularization of wayang in North America has definite historical contexts, namely the early 19th-to-mid 20th century conjunction of decolonization and Third World nationalism, with the more recent decades’ layering of multiculturalism and push towards conscious cultural responses to economic globalization. This developing continuum of new hybrid forms spans a spectrum of cultural inclusion and expansion of wayang and new components. At times these may be seen as wayang influence upon Western performance practice; at other times an entire Indonesian wayang production with additional elements added from Western music, theater, and other disciplines may be presented. These developments signify an enhanced and expanded exchange of cultural products between the nations of the world, taking place in an expanded space for dialogue between the artists of the developed and developing countries.
I will show, using case studies, how this process has produced and is producing a new branch of wayang as part of a continuum of hybridized wayang forms. By examining selected performance collaborations that have taken place over the last 40 years, I will provide a detailed analysis, which for the first time, lays out the components that constitute the variation of wayang art performance that has developed in response to geographical and cultural contexts of the Pacific Northwest of USA and Westcoast Canada.Graduate
2018-04-12
0377, 0357, 0465
sutrisno@uvic.ca
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Demers, Dimitri Sacha. "Trois compositions, trois genres musicaux et une démarche programmatique : Le chat noir, La nébuleuse de la tour, Le livre de Thot." Thèse, 2009. http://hdl.handle.net/1866/4682.
Full textAbstract:
La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l'Université de Montréal (www.bib.umontreal.ca/MU).Ce mémoire expose les résultats de mon projet de recherche, qui consistait à élaborer et tester ma démarche compositionnelle s’appliquant aux musiques de pratique électroacoustique, instrumentale et mixte. Mon intention était d’uniformiser et de systématiser mon approche s’inscrivant essentiellement dans l’esthétique des romantiques. J’y combine musique à programme, partitions graphiques et autres techniques modernes de composition. Le premier chapitre est consacré à la description détaillée et commentée des trois étapes qui constituent mon travail de création : le programme, l’analyse ainsi que la structure et la forme. Pour expérimenter cette approche, j’ai composé trois pièces : Le chat noir, pièce mixte pour gamelan, bandes et traitements en temps réel et inspirée d’une nouvelle d’Edgar Allan Poe, La nébuleuse de la tour, pièce électroacoustique basée sur une partition graphique exécutée par une guitare et un trombone et, comme troisième pièce, Le livre de Thot, pour trio à cordes et piano, présentée en quatre mouvements inspirés d’autant de cartes du tarot. Les trois pièces sont décrites et analysées en fonction de ma démarche aux chapitres deux, trois et quatre, respectivement.
This thesis presents the results of my research project which consisted in elaborating and testing my compositional approach in three musical forms, namely, electroacoustic, instrumental, and mix. My aim was to systematize my approach—which belongs essentially with romantic aesthetics—and to make it uniform by combining program music, graphic partitions, and other modern compositional techniques. The first chapter is devoted to the detailed and commented description of the three stages of my creation process : program, analysis, as well as form and structure. To test my approach, I have composed three pieces, 1- Le chat noir, a mixed piece for gamelan, recording and real-time processing inspired by a novel by Edgar Allan Poes, 2- La nébuleuse de la tour, an electroacoustic piece based on a graphic partition and performed on guitar and trombone, and 3- Le livre de Thot, for string trio and piano and performed in four movements inspired by four tarot cards. These three pieces are described and analyzed in chapters two, three, and four respectively.
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Chung, Wei-Hsiang, and 鐘煒翔. "Design and Implementation of a FPGA-based Wireless Music Gamepad Controller." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/14279066359133601418.
Full textAbstract:
碩士崑山科技大學
電機工程研究所
104
Currently, all of the wireless gamepad products support only one gamepad with one USB dongle model without music control options. The new design of Wireless Music Gamepad System includes one wireless USB dongle (computer adapter) with multiple wireless music gamepad which adopt under RF 2.4GHz wireless two-way communication architecture. The product allows four game players who can not only use ones' wireless gamepad to play games but also enjoy the music from individual wireless music headset which connected to gamepad audio ports. This new design, Wireless Music Gamepad System, includes one wireless USB dongle (computer adapter) with multiple wireless music gamepad which adopt under RF 2.4GHz wireless two-way communication architecture. It allows two game players who can play individual wireless gamepad and enjoy the music from one’s wireless music headset concurrently. In the markets, the function of all wireless gamepad products can support only one gamepad with one USB dongle without music control options. We believe that this product provides the best solution for all game players to manipulate their gamepad and enjoy the game music easily.
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Kuo-Chung, Chu, and 朱國彰. "Design and Implementation of a MCU-Based Wireless Music Gamepad Controller." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/93928941540509469905.
Full textAbstract:
碩士崑山科技大學
電機工程研究所
104
Currently, the wireless gamepad products support only one gamepad with one USB dongle model without music control options. The new design of Wireless Music Gamepad System includes one wireless USB dongle and one wireless music gamepad which supports RF 2.4GHz wireless two-way communication architecture. The product allows for game players to play games by using not only ones' wireless gamepad, but can also enjoy the music from individual wireless music headset connected to gamepad audio ports. This new design, Wireless Music Gamepad System, includes one wireless USB dongle with multiple wireless music gamepad which is adopted under RF 2.4GHz wireless two-way communicating situation. It allows two game players to play individual wireless gamepad and enjoy the music from one’s wireless music headset concurrently. In the markets, the function of all wireless gamepad products can support only one gamepad with one USB dongle without music control options. We believe that this product provides the best solution for all game players to manipulate their gamepad and enjoy the game music easily.