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Books on the topic 'Sundanese Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Sundanese dance and masculinity in West Java. Chicago: The University of Chicago Press, 2010.

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2

Soepandi, Atik. Kamus istilah karawitan Sunda. Bandung: Pustaka Buana, 1988.

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3

Suparli, Lili. Diksi karawitan Sunda: Penelitian dasar. Bandung, Jawa Barat, Indonesia: Sunan Ambu STSI Press Bandung, 2009.

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4

Suparli, Lili. Diksi karawitan Sunda: Penelitian dasar. Bandung, Jawa Barat, Indonesia: Sunan Ambu STSI Press Bandung, 2009.

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5

Weintraub, Andrew. A manual for learning Sundanese gamelan. [S.l: s.n.], 1985.

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6

Zanten, Wim van. Sundanese music in the Cianjuran style: Anthropological and musicological aspects of tembang Sunda. Dordrecht, Holland: Foris Publications, 1989.

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7

Weintraub, Andrew. A Manual for Learning Sundanese Gamelan: Senior thesis in music. Oakland: American Gamelan Institute, 1985.

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8

Upandi, Pandi. Metode pembelajaran kiliningan: Kawih dan gending pirigannya. Bandung: STSI Press, 2010.

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9

Natapradja, Iwan. Sekar gending: Catatan pribadi tentang karawitan Sunda. 2nd ed. Bandung: Karya Cipta Lestari, 2003.

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10

Yunus, Ahmad. Pengukuhan nilai-nilai budaya melalui lagu-lagu permainan rakyat pada masyarakat Sunda. [Jakarta]: Departemen Pendidikan dan Kebudayaan, Direktorat Jenderal Kebudayaan, Direktorat Sejarah dan Nilai Tradisional, Proyek Penelitian, Pengkajian dan Pembinaan Nilai-Nilai Budaya, 1993.

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11

Cook, Simon. Guide to Sundanese music: a practical introduction to gamelan saléndro/pelog, gamelan degung, panambih tembang Sunda. [U.K.]: Simon Cook, 1992.

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12

Upandi, Pandi. Gamelan salendro: Gending dan kawih kepesindenan lagu-lagu jalan. Bandung: Lubuk Agung, 2011.

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13

Estetika paradoks. Bandung, Jawa Barat, Indonesia: Sunan Ambu Press, STSI Bandung, 2010.

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14

Sasaki, Mariko. Laras pada karawitan Sunda. Bandung: Pusat Penelitian dan Pengembangan Seni Tradisional, Universitas Pendidikan Indonesia, 2007.

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15

Quirk, Lawrence J. The Sundance Kid: An unauthorized biography of Robert Redford. Lanham, Md: Taylor Trade Pub., 2006.

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16

Sidharta, Otto. Indonesian electronic music 1979-1992. 2018.

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17

Sean, Williams. The urbanization of tembang Sunda: An aristocratic musical genre of West Java, Indonesia. 1991.

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18

Pengukuhan nilai-nilai budaya melalui lagu-lagu permainan rakyat pada masyarakat Sunda. Departemen Pendidikan dan Kebudayaan, Direktorat Jenderal Kebudayaan, Direktorat Sejarah dan Nilai Tradisional, Proyek Penelitian, Pengkajian dan Pembinaan Nilai-Nilai Budaya in [Jakarta] . Written in Indonesian. , 1993.

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19

Sean, Williams. The Sound of the Ancestral Ship: Highland Music of West Java. Oxford University Press, USA, 2001.

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20

Sean, Williams. The Sound of the Ancestral Ship: Highland Music of West Java CD-ROM included. Oxford University Press, USA, 2001.

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21

Schoell, William. The Sundance Kid: A Biography of Robert Redford. Taylor Trade Publishing, 2006.

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22

Bishop, Daniel. The Presence of the Past. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190932688.001.0001.

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Abstract:

In the tumultuous era of the late sixties and early seventies, several currents of American art and culture coalesced around a broad sensibility that foregrounded and explored the immediacy of lived experience as both an aesthetic and political imperative. But in films set in the historical past, this sensibility acquired complex additional resonances by speaking to the ephemerality of the present moment through a framework of history, myth, nostalgia, and other forms of temporal alienation and distance. The Presence of the Past explores the implications of this complex moment in Hollywood cinema through several prominent examples released in the years 1967 to 1974. Key genres are explored in detailed case studies: the outlaw film (Bonnie and Clyde and Badlands), the revisionist Western (Butch Cassidy and the Sundance Kid, McCabe and Mrs. Miller), the neo-noir (Chinatown), and the nostalgia film (The Last Picture Show and American Graffiti). In these films, “the past” is more than a matter of genre or setting. Rather, it is a richly diverse, often paradoxical concern in its own right, whose study bridges diverse conceptual territories within soundtrack studies, including the sixties pop score, myth criticism, media technologies, and the role of classical music in compilation scoring. Against a broader background of an industry and film culture that were witnessing a stylistic and aesthetic diversification in the use of music and sound design, The Presence of the Past argues for the film-philosophical importance of the soundtrack for cultivating an imagined experiential understanding of the past.

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