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Journal articles on the topic 'Trance music'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2024

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1

Aspden, Rachel. "Trance Music." Index on Censorship 39, no. 3 (2010): 156–60. http://dx.doi.org/10.1177/0306422010381166.

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2

Becker, Judith. "Music and Trance." Leonardo Music Journal 4 (1994): 41. http://dx.doi.org/10.2307/1513180.

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3

Rider, M. S. "Music and Trance." Journal of Music Therapy 25, no. 2 (1988): 110–12. http://dx.doi.org/10.1093/jmt/25.2.110.

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4

Perlman, Marc, and Gamelan Pacifica. "Trance Gong." Asian Music 30, no. 1 (1998): 194. http://dx.doi.org/10.2307/834269.

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5

Levin, Theodore, and David Lewiston. "Trance 1 and Trance 2." Ethnomusicology 41, no. 1 (1997): 158. http://dx.doi.org/10.2307/852590.

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6

El Houcine Ben Cherki. "Trance Music, Symbolic Interactions and Social Representations in Nass El Ghiwane’s Artistic Experience." Journal of Gender, Culture and Society 2, no. 1 (2022): 80–89. http://dx.doi.org/10.32996/jgcs.2022.2.1.8.

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This article explores trance, therapy and social representations related to the music of Nass El Ghiwane, established in Hay Mohammadi, Casablanca, in the seventies. My objective is to show that the rituals of possession and trance music have been shifted from the zaouia space to the stage scene coinciding with the social change and the political turmoil in the seventies. The structure of rituals and trance music is nourished by everyday life problems and routines such as pain, suffering, poverty, political oppression, and social injustice. Overtly the band and the public are engaged in a dyna

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7

Permadi Putra, Made Bagus. "Binaural Beat of Bringbrung Music." Jomantara: Indonesian Journal of Art and Culture 2, Vol. 2 No. 1 (2022): 46–53. http://dx.doi.org/10.23969/jijac.v2i1.4913.

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Bringbrung is a ritual music in the tradition of society in the Kampung Cidadap Hilir, Ledeng, Kota Bandung. In each of Bringbrung performances, there is always a trance from the player and the audience. This phenomenon becomes the background of this research. One of the musical elements that are thought to be highly influential stimulates trance is binaural sensation. This article explains how the music of Bringbrung can produce binaural sensation so that it can stimulate trance on the players and the audience. The research methods used in this article use qualitative methods with a phenomeno

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8

Rogerson, Rebecca G., Rebecca E. Barnstaple, and Joseph FX DeSouza. "Neural Correlates of a Trance Process and Alternative States of Consciousness in a Traditional Healer." Brain Sciences 11, no. 4 (2021): 497. http://dx.doi.org/10.3390/brainsci11040497.

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Trance processes are a form of altered states of consciousness (ASC) widely reported across cultures. Entering these states is often linked to auditory stimuli such as singing, chanting, or rhythmic drumming. While scientific research into this phenomenon is relatively nascent, there is emerging interest in investigating the neural correlates of altered states of consciousness such as trance. This report aims to add to this field of ASC through exploring how the perception of an experienced Sangoma (traditional South African healer) entering a trance process correlates to blood-oxygen-level-de

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9

Wirandi, Rika, and Magfhirah Murni B. P. "FUNGSI MUSIK DALAM UPACARA PERAYAAN RITUAL THAIPUSAM ETNIS HINDU TAMIL DI BANDA ACEH." Gorga : Jurnal Seni Rupa 10, no. 2 (2021): 415. http://dx.doi.org/10.24114/gr.v10i2.28379.

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Thaipusam is a celebration ceremony held sacredly in the form of a prayer ritual procession and the procession of the Lord Murugan statues which is held annually by the Tamil Hindu ethnic community in Banda Aceh. This ritual is held in the Thai month according to the Hindu Tamil calendar, as a form of respect for Lord Murugan for his victory in fighting evil. This celebration ceremony is also a place to fulfill vows and purify themselves for ritual participants - which is accompanied by the attraction of stabbing sharp objects into certain body parts such as the tongue, lips, cheeks, forehead,

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10

Omojola, Bode. "Stambeli: Music, Trance, and Alterity in Tunisia." Canadian Journal of African Studies / Revue canadienne des études africaines 46, no. 2 (2012): 329–30. http://dx.doi.org/10.1080/00083968.2012.705600.

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11

Kristyanti, Caecilia Maria Andriana, Muhammad Nur Salim, and Nil Ikhwan. "RELASI ANTARA GENDING PONORAGAN DENGAN PROSES PAYAH DALAM PERTUNJUKAN JATHILAN DI KABUPATEN SLEMAN." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 22, no. 2 (2023): 163–79. http://dx.doi.org/10.33153/keteg.v22i2.4667.

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The research on the relationship between Gending Ponoragan and the process of payah performance in the Jathilan Krido Budoyo Turonggo Mudo in Sleman Regency reveals the form of Gending Ponoragan's presentation and its relationship with the process of payah formation. The word payah has various equivalent terms such as kerasukan, possession, or trance. This event became the highlight of the performance of Jathilan Krido Budoyo Turonggo Mudo. To reveal the relationship between Gending Ponoragan and the process of payah, Jankowsky's theory of music plays an essential role in stimulating trance ex

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12

Charles, Christopher David. "Ektoplazm.com: Psychedelic trance, internet curation and free music distribution." Popular Music History 13, no. 1-2 (2020): 147–67. http://dx.doi.org/10.1558/pomh.39424.

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13

CHAN, SEBASTIAN. "MUSIC(OLOGY) NEEDS A CONTEXT - Re-interpreting Goa Trance." Perfect Beat 3, no. 4 (2015): 93–98. http://dx.doi.org/10.1558/prbt.v3i4.28742.

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14

Everardo Pérez, Flavio Omar, and Fernando Antonio Aguilera Ramírez. "Armin: Automatic Trance Music Composition using Answer Set Programming." Fundamenta Informaticae 113, no. 1 (2011): 79–96. http://dx.doi.org/10.3233/fi-2011-600.

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15

Becker-Blease, Kathryn A. "Dissociative States Through New Age and Electronic Trance Music." Journal of Trauma & Dissociation 5, no. 2 (2004): 89–100. http://dx.doi.org/10.1300/j229v05n02_05.

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16

Turner, Tamara Dee. "Music and Trance as Methods for Engaging with Suffering." Ethos 48, no. 1 (2020): 74–92. http://dx.doi.org/10.1111/etho.12265.

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17

Listiani, Wanda, and Ai Juju Rohaeni. "PEMANFAATAN ESTIMASI POSE GERAK PADA PENARI TRANCE DALAM RITUAL ADAT NGALAKSA." Jurnal Budaya Nusantara 6, no. 3 (2024): 365–71. http://dx.doi.org/10.36456/jbn.vol6.no3.8881.

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This research aims detected the motions poses of trance dancers as a computer vision model in the trance dancers performing arts. The annual ceremonies of the Ngalaksa ritual and the Tarawangsa art as cultural traditions in Rancakalong Tourism Village, located in Sumedang, West Java. This ritual serves as a reverent to the Rice Goddess, with the farmers engaging in ceremonial processions and traditional Ngalaksa rites. Accompanied by the melodic strains of Tarawangsa music, participants dancing in rhythmic dance, some even entering trance states. On the other hand, the advancement of artificia

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18

Rotaru, Diana. "The Hypnotic Garden: Repetition and Trance in Salvatore Sciarrino’s Works for Flute." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (2022): 321–33. http://dx.doi.org/10.24193/subbmusica.2022.1.20.

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"Salvatore Sciarrino creates what could be described as an isolated, mysterious “sonic garden”: a ghostly world of sounds where the archetypal corporal processes, such as breathing or heartbeat, are transformed into music. His conceptual thinking – refreshing the musical perception, the ecological hearing, the persistence of repetition, the figures of music (formal archetypes that can be adapted to any kind of art) – as well as his very particular, non-traditional sound make Sciarrino’s music an incredibly rich world to explore. The flute seems to be his favourite instrument, due to its abilit

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19

Lott, R. Allen. ""A Continuous Trance": Hans von Bülow's Tour of America." Journal of Musicology 12, no. 4 (1994): 529–49. http://dx.doi.org/10.2307/763974.

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20

Lott, R. Allen. ""A Continuous Trance": Hans von Bulow's Tour of America." Journal of Musicology 12, no. 4 (1994): 529–49. http://dx.doi.org/10.1525/jm.1994.12.4.03a00060.

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21

Varvikko, Juha Matti. "Deborahh Kapchan. Traveling Spirit Masters: Moroccan Gnawa Trance and Music in the Global Marketplace ." Suomen Antropologi: Journal of the Finnish Anthropological Society 35, no. 3 (2010): 98–100. http://dx.doi.org/10.30676/jfas.127505.

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DEBORAH KAPCHAN. Traveling Spirit Masters: Moroccan Gnawa Trance and Music in the Global Marketplace. Middletown: Wesleyan University Press, 2007. Pp. 325. ISBN: 978-0-8195-6851-9 (cloth); ISBN: 978-0-8195-6852-6 (paperback).

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22

JILEK, WOLFGANG. "Music and Trance: A Theory of the Relations between Music and Possession . GILBERT ROUGET." American Ethnologist 14, no. 3 (1987): 598–99. http://dx.doi.org/10.1525/ae.1987.14.3.02a00450.

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23

No authorship indicated. "Review of Music and Trance: A Theory of the Relations Between Music and Possession." Contemporary Psychology: A Journal of Reviews 31, no. 12 (1986): 1008–9. http://dx.doi.org/10.1037/024379.

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24

Kowalczyk, Rafał. "Klasyfikacja semantyczna rosyjskich i polskich nazw muzyki rozrywkowej." Studia Rossica Posnaniensia 40, no. 1 (2016): 177–88. http://dx.doi.org/10.14746/strp.2015.40.1.17.

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This paper presents a practical application of multifaceted research into the vocabulary of popular music in contemporary Russian and Polish. It contains explanatory notes in the first part and appendixes, i.e. mini Russian-Polish dictionaries, in the second part. Lexical entries are divided into six semantic groups with the following key concepts: jazz, rock, metal, house, techno and trance, which describe the music styles that appeal to popular tastes.

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25

Van Cauwenberghe, Kobe. "Een ritueel van openheid. De (meta-)realiteit van Anthony Braxtons Ghost Trance Music." Forum+ 28, no. 1 (2021): 48–57. http://dx.doi.org/10.5117/forum2021.1.vanc.

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Abstract Dit artikel neemt de Ghost Trance Music-composities van de Amerikaanse componist Anthony Braxton onder de loep. Het geeft tegelijkertijd een bredere kijk op Braxtons oeuvre als geheel en plaatst enkele kritische kanttekeningen bij de canon van naoorlogse westerse kunstmuziek.

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26

Emoff, Ron, and August Schmidhofer. "Madagascar: Awakening the Spirits: Music in Tromba and Bilo Trance Rituals." Yearbook for Traditional Music 30 (1998): 181. http://dx.doi.org/10.2307/768580.

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27

During, Jean. "African Winds and Muslim Djinns. Trance, Healing, and Devotion in Baluchistan." Yearbook for Traditional Music 29 (1997): 39. http://dx.doi.org/10.2307/768296.

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28

Ahmad, Siti Islamiah, Mohd Effindi Samsuddin, and Awang Azman Awang Pawi. "“ISIM” DAN “ISI” DALAM PERSEMBAHAN SENI PERMAINAN KUDA KEPANG." Jurnal Pengajian Melayu 34, no. 1 (2023): 107–25. http://dx.doi.org/10.22452/jomas.vol34no1.6.

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The art of “permainan” Kuda Kepang is a type of dance that goes through a ritual process before reaching a trance state during the performance. The current study focuses on the keywords “isim” and “isi, which refers to the form of practice taken and performed by Kuda Kepang players. This investigation focuses on the relationship between the possession of “isim” within the player and the filling of “isi” in the Kuda Kepang equipment to realize the presence of the trance state during the performance. Therefore, the objective of this study is to identify the factors contributing to the occurrence

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29

COLLINS, RODNEY. "Stambeli: music, trance, and alterity in Tunisia - By Richard C. Jankowsky." Journal of the Royal Anthropological Institute 18, no. 2 (2012): 494–95. http://dx.doi.org/10.1111/j.1467-9655.2012.01754_26.x.

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30

Herbert, Ruth. "Reconsidering Music and Trance: Cross-cultural Differences and Cross-disciplinary Perspectives." Ethnomusicology Forum 20, no. 2 (2011): 201–27. http://dx.doi.org/10.1080/17411912.2011.592402.

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31

Steele, John. "Embodied encounters with AntheA Delmotte's performance of Return to Chaos." Image & Text, no. 36 (January 25, 2023): 1–26. http://dx.doi.org/10.17159/2617-3255/2022/n36a23.

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The theme of embodied engagement with art is explored in relation to the work Return to Chaos, which was created by South African visual artist AntheA Delmotte in 2017. Following a brief introduction to the artist and her works, my own embodied, sensual encounters with Return to Chaos are investigated in order to establish the usefulness, or not, of this way of looking. Delmotte's oeuvre shows that she intertwines painting styles of carefully planned studio based realism with deep trance-state public performance paintings that usually result in relatively unplanned abstract artworks. The latte

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32

Lowrey, Norman. "Norman Lowrey: In Whirled Trance(Formations)." Leonardo Music Journal 19 (December 2009): 103. http://dx.doi.org/10.1162/lmj.2009.19.103b.

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33

Turner, Ashley, and Artur Simon. "Gendang Karo (North Sumatra): Trance and Dance Music of the Karo-Batak." Yearbook for Traditional Music 21 (1989): 151. http://dx.doi.org/10.2307/767791.

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34

Hendriko, Thomas, and Elmeida Effendy. "Kuda Kepang: A Case Report of Javanese Cultural-Related Trance in Medan." Open Access Macedonian Journal of Medical Sciences 7, no. 16 (2019): 2705–7. http://dx.doi.org/10.3889/oamjms.2019.823.

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BACKGROUND: One of the works of Javanese culture is the kuda kepang. None of the historical records explains the origin of this dance. Kuda kepang or also called kuda lumping or jathilan. In the kuda kepang dance, the trance process takes place through the calling of the spirit or called endang through the songs that are played. In the International Classification of Disease Edition (ICD-10), it is called trance and possession disorders and in the Diagnostic and Statistical Manual of Mental Disorders five editions (DSM-5) it is included into Other Specified Dissociative Disorder. CASE RE

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35

Nicolas, Arsenio. "TRADITIONAL MUSIC AND CONTEMPORARY TRENDS: MUSIC IN ASEAN COMMUNITIES." Sorai: Jurnal Pengkajian dan Penciptaan Musik 12, no. 1 (2019): 54–56. http://dx.doi.org/10.33153/sorai.v12i1.2623.

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The traditional music and performing arts in the ASEAN have found new powerful conduits of transmission with the advent of the digital age. Although claims of cultural ownership over music and dance occasionally appear on social networks and media platforms, the ubiquity of the Internet has in fact benefitted the general public, allowing them access to images and sounds hitherto unknown. Modernisation has taken its toll on the region’s musical heritage. Ancient elements of indigenous music have faded away. The influx of popular and Western music has increasingly eroded the space and demand for

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36

McCallum, Clinton. "Falling Up." Journal of Popular Music Studies 33, no. 2 (2021): 99–129. http://dx.doi.org/10.1525/jpms.2021.33.2.99.

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This article investigates melodic figures and harmonic sequences that miraculously only step up to illuminate an aesthetic lineage that connects gospel to electronic dance music. It argues that the synth-risers and ever-opening filters of contemporary euphoric rave music like happy-hardcore and uplifting-trance find precedence in compositional devices that made their way into funk/soul and disco/garage from Black gospel music, and that these gospel inventions were derived from the Afro-diasporic ring-shout. Cognitive linguistic and psychoacoustic theories premise an analytical framework for mu

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37

Gucksohn, Joseph, Reuven Tsur, and Chanita Goodblatt. "Absorption and Trance-Inductive Poetry." Empirical Studies of the Arts 9, no. 2 (1991): 115–22. http://dx.doi.org/10.2190/e4a8-89a9-dq54-5ryc.

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38

Foreman, Richard. "Selection From Deep Trance Behavior in Potatoland." PAJ: A Journal of Performance and Art 30, no. 3 (2008): 106–16. http://dx.doi.org/10.1162/pajj.2008.30.3.106.

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39

Király, Lajos. "Music and the Altered State of Consciousness." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (2023): 165–75. http://dx.doi.org/10.24193/subbmusica.2023.2.12.

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"Tourists travelling to Turkey may encounter circling (mevlevi) dervishes in Konya, spinning in circles to achieve a kind of altered state of consciousness and enter a trance-like state of ecstasy. The world of popular music has also been inspired by the concepts of Christianity and ecstasy, and some rock bands have emerged from a combination of the two. This altered state of consciousness is brought about by the combined effect of dance and music, which they believe can be an ecstatic experience of dual action, freeing one from the agonies and pains of everyday life. In some religions, the ec

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40

Tanasic, Branislav R. "Manipulative Aspects of Music." European Journal of Theoretical and Applied Sciences 1, no. 5 (2023): 56–63. http://dx.doi.org/10.59324/ejtas.2023.1(5).06.

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Every sensory stimulus, be it visual, audio, or some other, generates a brain response in the area of the cortex where such information is received, and processed, and gives full meaning or perception of the experience. The cerebral reaction can be monitored by measuring cortical activity through the synchronized response of a large number of neurons, ie. the formed electric wave. EEG scans show that the waves of the brain response in the alpha and beta bands are synchronized around the carrier rhythm of the music track. The sinusoids of the brain waves move in phases so that the peak of the w

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41

Perman. "Review Essay: Competing Paradigms in the Ethnomusicology of Trance." Ethnomusicology 57, no. 2 (2013): 330. http://dx.doi.org/10.5406/ethnomusicology.57.2.0330.

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42

Lambert, Jean, and Anderson Bakewell. "The Yemen Tihama: Trance and Dance Music from the Red Sea Coast of Arabia." Yearbook for Traditional Music 35 (2003): 234. http://dx.doi.org/10.2307/4149360.

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43

Spencer, Edward K. "Re-orientating Spectromorphology and Space-form through a Hybrid Acoustemology." Organised Sound 22, no. 3 (2017): 324–35. http://dx.doi.org/10.1017/s1355771817000486.

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This article re-orientates Denis Smalley’s work on spectromorphology and space-form through a case study of electronic dance music (EDM) on YouTube. An EDM track and its related YouTube comments are analysed concurrently in order to examine how sound-shapes and sonic spatiality are experienced in practice on the social web. Using Stephen Feld’s notion of acoustemology as a theoretical base, I argue that semantic and somantic ways of knowing through sound are thoroughly entangled. A hybrid acoustemology model is outlined, merging spectromorphology and space-form with elements of ecosemiotics an

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44

Vetter, Roger, and Artur Simon. "Gendang Karo/Northern Sumatra, Indonesia. Trance and Dance Music of the Karo Batak." Ethnomusicology 33, no. 3 (1989): 563. http://dx.doi.org/10.2307/851789.

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45

Alfajri, Rendi, and Marzam Marzam. "STRUKTUR PERTUNJUKAN KUDA LUMPING DI KELURAHAN KAMPUNG LAPAI KECAMATAN NANGGALO PADANG." Jurnal Sendratasik 10, no. 1 (2020): 254. http://dx.doi.org/10.24036/jsu.v9i2.110546.

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This study aims to determine and describe the Performance Structure of Kuda Lumping in Kampung Lapai Village, Nanggalo District, Padang.This research belongs to a qualitative research. The research instruments used were the researcher it self, writing tools, and cellphone cameras. The object of this research was Kuda Lumping Brandon in Kampung Lapai Village, Nanggalo District, Padang.The results show that Kuda Lumping has a performance structure which cannot be removed or reversed from beginning to end. In the performance process, there must be several important people or instruments such as a

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46

Markoff, Irene. "Introduction to Sufi Music and Ritual in Turkey." Middle East Studies Association Bulletin 29, no. 2 (1995): 157–60. http://dx.doi.org/10.1017/s0026318400031552.

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It is difficult to appreciate and understand Sufism fully without an informed exposure to the expressive cultural forms that help define and enhance it. It is this dimension of Islamic mysticism that transports the seeker on the path of spiritual attainment into higher states of consciousness that promise spiritual intoxication (Wajd) and a unique and intimate union, even annihilation (fanā), in the supreme being. This emotional expression of faith is intensified and externalized in elaborate forms of meditation and esoteric techniques that are part of ritual ceremonies.Through ritual, many Su

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47

Martynenko, Elena P. "TECHNO-SYMPHONY “RETHINKING PROGRESS” BY VICTOR ARGONOV: CULTURAL CONTEXT AND FACETS OF POLYSTYLISTICS." Articult, no. 2 (2021): 36–48. http://dx.doi.org/10.28995/2227-6165-2021-2-36-48.

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The symphony “Rethinking Progress” by V. Argonov is considered to be the first techno-symphony in Russian musical culture. The origin of techno-symphony is connected to the process of convergence of academic and electronic music at the turn of the 20–21st centuries and the emergence of new techno-art forms. The conditionality is revealed between the style specifics of the symphony “Rethinking Progress”, the cultural context of the epoch and the influence of polystylistic trends. The musical text of the techno-symphony contains features of an academic symphonism, including the preservation of t

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48

Madili, Meryem. "Pszichoterápiás utazások a gyógyítás spirituális világába a Gnawa zene szárnyán: egy antropológiai tanulmány." Különleges Bánásmód - Interdiszciplináris folyóirat 10, Special Issue (2024): 63–70. http://dx.doi.org/10.18458/kb.2024.si.63.

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From the sufferings their art was born, from the torture they lived in during their life as slaves their music was created. From the torturing tools used on them they created their own musical instruments. From their screams as slaves, they composed a new music with unique rhythms. Gnawa become a cultural phenomenon in Morocco. A sufi confrerie imploring God, the prophet and the saints to release them from slavery, torture and the sufferings they encountered. Their music is considered spiritual because it calls souls to join its magic. Gnawa plays a psychotherapeutic role in healing people fro

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49

Jankowsky, Richard C. "Music, Spirit Possession and the In-Between: Ethnomusicological Inquiry and the Challenge of Trance." Ethnomusicology Forum 16, no. 2 (2007): 185–208. http://dx.doi.org/10.1080/17411910701554021.

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50

Moncada Sevilla, Nadia Imelda, Maristela Carneiro, and Rita de Cássia Domingues dos Santos. "Música pós-minimalista em cena: uma análise do uso de trance 4 em Closet monster*." Cuadernos de Música, Artes Visuales y Artes Escénicas 16, no. 1 (2021): 170–91. http://dx.doi.org/10.11144/javeriana.mavae16-1.mpme.

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O filme Closet Monster, escrito e dirigido por Stephen Dunn, considerado um dos dez melhores filmes canadenses do ano 2015 pelo TIFF (Toronto International Film Festival), apresenta fortes influências do cinema queer e utiliza a música como elemento fundamental para caracterizar o protagonista, acompanhar a trama e conceder à obra um sentido que não seria o mesmo sem ela. Este artigo foca-se em uma cena próxima ao desenlace do filme (71'32"-75'43"), que se serve da peça musical pós-minimalista Trance 4, do compositor americano Michael Gordon, interpretada pelo grupo musical Icebreaker, concebi

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