Relevant bibliographies by topics / Vocal music Sri Lanka

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Vocal music Sri Lanka'

Author: Grafiati
Published: 11 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Vocal music Sri Lanka"

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Fujie, Linda, and Wolfgang Laade. "Sri Lanka: Buddhist Chant II: Various Rituals." Yearbook for Traditional Music 26 (1994): 193. http://dx.doi.org/10.2307/768276.

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Ellingson, Ter, and Cyril de Silva Kulatillake. "Sri Lanka: Kolam--The Masked Play." Ethnomusicology 31, no. 1 (1987): 187. http://dx.doi.org/10.2307/852317.

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Meddegoda, Chinthaka Prageeth. "Hindustani Classical Music in Sri Lanka: A Dominating Minority Music or an Imposed Musical Ideology?" ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 41–50. http://dx.doi.org/10.30819/aemr.6-3.

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In Sri Lanka, the various groups of Tamils are jointly the largest minority group who migrated from different places of South India and in different time periods. South Indian music is widely appreciated and learnt by both the Sinhala including by large parts of the Tamil minority spread over Sri Lanka. Although a number of Sinhala people prefer and practice North Indian music geographically, and probably culturally, they are much closer to South India than to North India. Some historical sources report that Sinhalese are descendants of North Indians who are believed to be Aryans who migrated from Persia to the Northern part of India in the 13th century and later. Therefore, some scholarly authorities believe that the Sinhalese ‘naturally’ prefer North Indian music as they also continue the suggested Aryan heritage. Nevertheless, some other sources reveal that the North Indian music was spread in Sri Lanka during the British rule with the coming of the Parsi Theatre (Bombay theatre), which largely promoted Hindustani raga-based compositions. This paper explores selected literature and opinions of some interviewees and discusses what could be the reasons for preferences of North Indian music by the Sinhalese. The interviewees were chosen according to their professional profile and willingness to participate in this research. As a result, this paper will offer insights through analysing various opinions and statements made by a number of interviewees. The research also considered some theories which may relate to the case whether Hindustani classical music is due to these reasons a dominating minority culture or a rather self-imposed musical ideology. The latter would establish an aesthetic hierarchy, which is not reflected in the cultural reality of Sri Lanka. This is a new research scrutinizing a long-term situation of performing arts education in this country taking mainly interviews as a departing point.
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Jähnichen, Gisa. "The Role of Music and Allied Arts in Public Writings on Cultural Diversity: “People of Sri Lanka”." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 93–100. http://dx.doi.org/10.30819/aemr.6-7.

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The Sri Lankan Ministry of National Coexistence, Dialogue, and Official Languages published the work “People of Sri Lanka” in 2017. In this comprehensive publication, 21 invited Sri Lankan scholars introduced 19 different people’s groups to public readers in English, mainly targeted at a growing number of foreign visitors in need of understanding the cultural diversity Sri Lanka has to offer. This paper will observe the presentation of these different groups of people, the role music and allied arts play in this context. Considering the non-scholarly design of the publication, a discussion of the role of music and allied arts has to be supplemented through additional analyses based on sources mentioned by the 21 participating scholars and their fragmented application of available knowledge. In result, this paper might help improve the way facts about groups of people, the way of grouping people, and the way of presenting these groupings are displayed to the world beyond South Asia. This fieldwork and literature guided investigation should also lead to suggestions for ethical principles in teaching and presenting of culturally different music practices within Sri Lanka, thus adding an example for other case studies.
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Helffer, Mireille, monks of the Madangalla Privena, and Wolfgang Laade. "Sri Lanka. Buddhist Chant I: Maha Pirit. The Great Chant." Yearbook for Traditional Music 25 (1993): 179. http://dx.doi.org/10.2307/768715.

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Kalinga Dona, Lasanthi Manaranjanie. "Indigenous Voices Within the Majority-Minority Discourse in Sri Lanka." Musicological Annual 55, no. 2 (December 13, 2019): 201–24. http://dx.doi.org/10.4312/mz.55.2.201-224.

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The presence of Sri Lanka's indigenous Vedda minority is subject to continuous shrinking due to imposed views of modernity, including political decisions, sociocultural circumstances, technological and other issues. Could the collaborative work on strengthening communal and individual self-perceptions and attitudes towards heritage and identity issues benefit the endangered community?
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IRVING, DAVID R. M. "The Genevan Psalter in Eighteenth-Century Indonesia and Sri Lanka." Eighteenth Century Music 11, no. 2 (August 7, 2014): 235–55. http://dx.doi.org/10.1017/s1478570614000062.

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ABSTRACTThe spread of Protestant Christianity to Indonesia and Sri Lanka in the early modern period involved large-scale translation projects and, from the beginning of the eighteenth century, the publication of metrical psalms in languages spoken by local communities: Portuguese, Malay, Tamil and Sinhala. Selected psalms from the Genevan Psalter, as well as complete versions, were translated and published in South and Southeast Asia on several occasions in the eighteenth century, representing the earliest printing of Western staff notation in Jakarta and Colombo. These psalters were issued in numerous editions, and some were prefaced with a short explanation of the musical scale. Christian communities in Indonesia and Sri Lanka appear to have used the psalters regularly in religious devotions and services. This article explores the processes involved in the translation, production and distribution of these psalters, considering musical and cultural aspects of their adoption into local communities.
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Weerakkody, Iranga Samindani. "The Maraa-Ipaddima Ritual Drama in Sri Lanka." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 9 (June 27, 2022): 65–82. http://dx.doi.org/10.30819/aemr.9-5.

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This article aims to study the ethnomusicological characteristics/expressions of a ritual drama in Sri Lanka that has lacked comprehensive research conducted about it so far; the Maraa-Ipaddima (Killing and Resurrection) ritual drama. This ritual drama is performed in reverence to the Goddess Pattini, who holds a special place in Sri Lankan culture and society for personal and social well-being such as fertility, health, and protection. The study employs a qualitative research method using both primary and secondary sources. The data has been collected through field observations, structured and semi-structured interviews, case study analysis, and literature reviewing. Study outcomes show that the ethnomusicological aspects of the ritual drama are expressed through kavi (poetic verses) sung while performing drama, traditional musical instruments, costumes, dance, and harmony. The study helped to understand the ethnomusicological expression of ritual drama performed, and it is also evident that the musical expressions performed in the ritual drama also work as a treatment in the collective healing of people (catharsis).
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Kalinga Dona, Lasanthi Manaranjanie. "Bali Healing Ritual in Sri Lanka from a Medical Ethnomusicology Perspective." Musicological Annual 52, no. 2 (December 9, 2016): 121–36. http://dx.doi.org/10.4312/mz.52.2.121-136.

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Medical ethnomusicology, a new growing sub-field of ethnomusicology takes into consideration on an equal basis music, medicine/healing and culture. This article focuses on a complex of cultural beliefs intertwined with the arts and crafts, in a multileyered bali healing ritual, which aims to restore wellbeing of individuals and communities in the South Asian country Sri Lanka.
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Laade, Wolfgang. "The Influence of Buddhism on the Singhalese Music of Sri Lanka." Asian Music 25, no. 1/2 (1993): 51. http://dx.doi.org/10.2307/834190.

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Dissertations / Theses on the topic "Vocal music Sri Lanka"

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Abeyaratne, Harsha. "Folk music of Sri Lanka : ten piano pieces." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1213149.

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The purpose of the present research was to provide ideas for positive stress management in the orchestra world to help achieve high-level performances. The author developed the Orchestral Performance and Stress Survey and distributed it to 230 musicians of three orchestras that comprised full-time and part-time professional as well as community orchestra musicians. The survey sought to identify stress-causing and performance-enhancing factors in the orchestra environment. Questions on the musicians' background allowed for comparisons to identify groups with particular needs. Results show that musical training often does not include stress management training. Playing-related injuries are common. Two-thirds of full-time musicians who responded have suffered injuries that forced them to stop playing for more than one week. On average, musicians reported that stress neither detracts from, nor enhances performances. The most stressful concert types were classical concerts. Highly critical audiences are the most stressful.
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Suraweera, Sumuditha. "Sri Lankan, Low-Country, Ritual Drumming: The Raigama Tradition." Thesis, University of Canterbury. School of Music, 2009. http://hdl.handle.net/10092/3440.

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This thesis provides an in-depth account of the Low-Country, ritual, drumming tradition of Sri Lanka. Low-Country drumming is characterized by its expressive and illusive sense of timing which makes it appear to be free of beat, pulse and metre. This makes it special in respect to other drumming cultures of the world. However, the drumming of the Low-Country is marginalized, unaccepted and unexposed. Drawing on original fieldwork from the Western province of Sri Lanka, this study analyses the drumming of three distinct rituals: devol maḍuva, Kalu Kumāra samayama and graha pūjāva of Raigama, the dominant sub-tradition of the Low-Country. The thesis reveals key features of the drumming tradition, some of which are hidden. These features include the musical structure that is beneath the surface of the drumming, timing, embellishment, improvisation and performance practice. It also documents the Low-Country drum, the yak beraya, its construction and relationship to the musician. The thesis addresses some of the changes that are occurring in the contemporary ritual and argues the need for the drumming to be brought out of its ritual context, for its survival in the future. It also documents a collaborative performance between Low-Country ritual performers and musicians from New Zealand.
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Sheeran, Anne E. "White noise : European modernity, Sinhala musical nationalism, and the practice of a Creole popular music in modern Sri Lanka / by Anne E. Sheeran." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/6505.

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Dassenaike, Nilusha Ranjini. "Sinhala folk music : its vocal traditions and stylistic nuances." Master's thesis, 2012. http://hdl.handle.net/1885/110696.

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This research presents the role and characteristics of vocal improvisation in Sinhala folk music, the music of Sri Lanka. This study examines the vocal nuances and expressions of Sinhala folk and identifies the idiosyncratic nature of vocal improvisation and how it is applied in Sinhala folk music. Considered a dying art form by practitioners, scholars, nationals and expats interviewed during this research, Sinhala folk music is scarcely practiced yet holds the key to the nation's musical identity. This study investigates the philosophical and social influences on Sinhala folk music in a historical sense and observes its purposes and practices. The research presents an analysis of a traditional folk song Nelum Gee with respect to specific vocal improvisation and expressive techniques. The introduction gives an account of my Sri Lankan and Western cultural heritages by detailing my ancestry, migration and educational experiences which continue to inform the music making practices I am currently exploring and engaging in. Chapter 1 highlights various definitions of improvisation in several styles of music including Sinhala folk and the diverse applications of vocal improvisation that include but are not limited to ornamentation of melodies, rhythmic displacement and phrasing, scats singing and free improvisation. Chapter 2 travels through the influence of Theravada Buddhism on Sinhala folk music and its conservative outlook on the arts, the acceptance and application of drumming in various contexts and accompanying instrumentation used in Sinhala folk. Chapter 3 observes the disbanded social ranking of the Sinhalese caste system with a particular focus on the Berava caste from which traditional dancers and singers originated from. Chapter 4 addresses specific vocal nuances observed in Sinhala folk music in reference to improvisation techniques, vocal delivery styles and intonation. It also looks at Buddhist chanting styles and the application of chanting styles to contemporary music. Comparisons are drawn between Hindustani, Canartic and Sinhalese singing styles. Chapter 5 presents an overview of Sinhala folk music singing styles and contains personally transcribed and analysed examples of each category. Chapter 6 provides an in depth analysis of two transcribed excerpts from two recordings of traditional Sinhala folk song Nelum Gee. One is a studio recording and the other is a personally recorded live version of the same song, both interpreted by Sinhala folk music artist Chandrakanthi Shilpadhipathi. The excerpts have been personally transcribed and critically analysed in relation to significant contemporary vocal improvisation techniques such as rhythmic placement, melodic ornamentation, expression techniques and syllabic ornamentation techniques. The findings have been documented in music notation and various tables. The conclusion addresses the reasons Sinhala folk music is considered a dying art and the current attempts at preservation. The conclusion also presents the successes and difficulties experienced in fusing elements of Sinhala folk into Western compositions.
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Pereira, Juliana Neves Norte. "A Kaffrinha dos Burghers da Província Oriental. Uma etnografia no Sri Lanka." Master's thesis, 2021. http://hdl.handle.net/10362/135550.

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A presente dissertação centra-se nas relações entre música, pertença e património produzidas em torno da kaffrinha, um género de música e dança que os Burghers da Província Oriental consideram como seu património cultural. A partir de uma etnografia realizada entre as comunidades burgher de Trincomalee e Batticaloa (Província Oriental), procura situar a produção de práticas culturais, sobretudo de música e dança, nos seus principais lugares de performance e de pertença, nomeadamente em casamentos. Numa perspetiva histórica, examina algumas das implicações do colonialismo português no Sri Lanka na formação do grupo burgher e das suas expressões culturais crioulas – especialmente visível no domínio linguístico, musical, religioso e ritual – e discute o processo de caracterização do termo “burgher”, durante o período colonial holandês e britânico. Argumenta que a kaffrinha constituiu um dos principais recursos de sobrevivência da população burgher da Província Oriental, quer durante o período de governação colonial, quer após a Independência Nacional, desempenhando um papel central nas suas estratégias de reprodução cultural e social.
“The Kaffrinha of the Burghers of the Eastern Province: An Ethnography in Sri Lanka”, focuses on the relationship between music, belonging and heritage produced around kaffrinha, a genre of music and dance which the Burghers of the Eastern Province consider as their cultural heritage. Based on an ethnography carried out between the Burgher communities of Trincomalee and Batticaloa (Eastern Province), it seeks to locate the production of cultural practices, especially music and dance, in their main places of performance and belonging, namely in weddings. From a historical perspective, it examines some of the implications of Portuguese colonialism in Sri Lanka for the formation of the burgher group and its creole cultural expressions – especially visible in the linguistic, musical, religious and ritual domains – and discusses the process of characterization of the term “burgher”, during the Dutch and British colonial period. It argues that the kaffrinha articulated one of the main survival resources of the Burgher population of the Eastern Province, both during the colonial period and after National Independence, playing a central role in their strategies of cultural and social reproduction.
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Books on the topic "Vocal music Sri Lanka"

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Music of Sri Lanka. Colombo: Vijitha Yapa Publications, 2008.

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Abeywickrama, Maya. Harmonious illusions: A study of Western influence on the music of Sri Lanka. Colombo: Vijitha Yapa Publications, 2006.

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Manaranjanie, K. D. Lasanthi. Music and healing rituals of Sri Lanka: Their relevance for community music therapy and medical ethnomusicology. Colombo: S. Godage & Brothers, 2013.

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Claus-Bachmann, Martina. Traditional music culture in Sri Lanka - Dance (CD-ROM): A multimedial-interactive journey to an unfamiliar music culture. Giessen: ulme-mini-verlag, 2000.

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Claus-Bachmann, Martina. Traditional Music Culture in Sri Lanka - Drum (CD-ROM): A multimedial-interactive journey to an unfamiliar music culture. Giessen: ulme-mini-verlag, 2000.

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Malm, Krister. The baila of Sri Lanka and the calypso of Trinidad: The mediaization of two kinds of music with topical texts, with special reference to their communicative properties. Stockholm, Sweden: Swedish National Collections of Music, 1985.

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Piyasena, S. Kalu Jūliyē ridī jubiliya saha jemis gē nidahasa. Koḷamba: Phāsṭ Pabliṣin, 2009.

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Musical Gift: Sonic Generosity in Post-War Sri Lanka. Oxford University Press, 2018.

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Sykes, Jim. Musical Gift: Sonic Generosity in Post-War Sri Lanka. Oxford University Press, Incorporated, 2020.

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Field, Garrett. Modernizing Composition: Sinhala Song, Poetry, and Politics in Twentieth-Century Sri Lanka. University of California Press, 2017.

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Book chapters on the topic "Vocal music Sri Lanka"

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Nanayakkara, Gowri. "The Sinhala Commercial Music Industry and Its Development." In Performers’ Rights in Sri Lanka, 17–56. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-6668-0_2.

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Weerakkody, Iranga S. "Sustainability and Re-invention: The Pot Drum in Sri Lanka." In Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz, 173–82. Logos Verlag Berlin, 2021. http://dx.doi.org/10.30819/5319.13.

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As indicated by archeological and literary sources, the pot drum has been a membranaphone of popular use since the Anuradhapura kingdom. It has been seen in various forms as Kumbha beraya, kala beraya, bummadiya or bimbisaka. This drum, being made out of clay in the shape of a gourd with an elongated neck or in that of a clay pot had a stretched skin of goat hide, monitor lizard hide or monkey hide. The use of these raw materials and how it brings harmony between the pottery industry and villagers in the processes of making the bummadiya is of importance. Through this research, understanding the Sri Lankan pot drum as a primary musical instrument and studying its historical and cultural aspects served as a foundation. After which, the objectives of identifying the role the pot-drum plays in sustainability were discussed. Finally, an investigation into an evolutionary stage of the pot drum in modern times, the thunpata beraya, was investigated. While this is a qualitative research, literary and archeological sources were used to collect data through discussions and field visits. The cultural texts and articles written throughout the ages on the Sri Lankan pot drum were used as secondary sources. Judgment sampling was the background behind the selection of data sources. Audio-visual methods were also used in collecting data. The human activity of using a material such as clay to express creativity in the form of music is of significance here.
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Meddegoda, Chinthaka Prageeth. "Instrumental Ambient Music and Musical Entertainment in Sri Lankan Tourism." In Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz, 205–16. Logos Verlag Berlin, 2021. http://dx.doi.org/10.30819/5319.16.

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This research explores how instrumental music has been used as ambient music in selected popular tourist places in Sri Lanka. The domain of the study is confined within the coastal areas in Western Province where tourism is active at present. The places of catering, fast food, and various eateries and drinks have facilitated certain ambient music which is mostly chosen purposefully to attract and to entertain the guests. There must be a certain joint feature of opinions among food entertainers on matching food taste with instrumental music. The main purpose of this study is to explore how Sri Lankan food entertainers facilitate instrumental music to attract and to entertain their guests while consuming food and other attractions. Under the given circumstances of fading large scale tourist business, local business is still flourishing. The choice of entertainment might have been changed. Also, many online possibilities were created by using ambient music. All these current changes need to be considered while analysing collected material. This short-term research is seeking answers to the following questions: How are tourist demands assessed? Who is involved in decision-making about the repertoire, presentation, and arrangement? How is quality output controlled? Which kind of feedback from various participants (audience/ musicians/ organizers) may lead to corrections? The main method is interviewing and surveying. The surveys have to be carefully created and they have to include basic elements about formal and informal music education, peer behavior, and expectations of supervising companies or institutions.
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Palitha, G. A. C. Sri. "Sinhala New Year: The Banku Rabana and its Relationship to Food Culture." In Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz, 239–50. Logos Verlag Berlin, 2021. http://dx.doi.org/10.30819/5319.19.

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The main livelihood of Sri Lankan village life is the agricultural industry centered on the rice plant. This culture has incorporated a sub-culture surrounding food sprouting from this as well. Throughout history, the harvest brought home has been consumed in a festive setting. This is most clearly seen in the month of April, with the dawn of the New Year. The banku rabana is a traditional percussion instrument that is 3-4 feet in diameter and is made to represent the sun. Played by four individuals sitting around the rabana this is a custom spread island wide with variations indigenous to regions. This is a qualitative study through which the following aims are discussed. First, a rough outline of the traditional New Year festival and the significance of the banku rabana. Then, the communication methods involving the banku rabana, the different playing styles and related vocal verses as well as their hidden meanings were investigated. Finally, the aspects of food culture brought out through the banku rabana are discussed. Discussions and field observations were carried out as primary sources. Furthermore, experience in the field of Ayurveda medicine and food culture was used as a primary source here. The secondary sources used were studying the relevant texts on the topics relevant to the research. This culture is an Intangible Cultural Heritage of Sri Lanka.
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Karunanayake, Pamalka Manjitha, and Manfred Bartmann. "Worlds Falling Apart — The Bowed String Instrument Esraj Amid a Demolition Scene." In Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz, 53–66. Logos Verlag Berlin, 2021. http://dx.doi.org/10.30819/5319.04.

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When working with Pamalka Manjitha Karunanayake in 2018, the two of us ended up recording in Cult Studios (Colombo, Sri Lanka). There, I audio-recorded Pamalka's rendering of some marvelous samples all of which showcasing his deep understanding of the raga charukeshi. Charukeshi is a highly ambivalent raga. As a result, the performance of a skilled player will always convey joy as well as grief, and oscillate between emotional qualities. On this December 4th 2018 none of us had any clue about the catastrophes that were in store. Nevertheless, I had field-recorded impressive sounds of some demolition machinery, tearing down an old building that had been used as an arts centre in Fulda, central-Germany. That was meant to gentrify the neighbourhood. I brought these somehow eerie recordings to my longtime colleague Bernie Rothauer in Salzburg to see what could be done with them in his Ôbaxé studio. Bernie loves to work with weird soundscapes. My then working title was "Making a Trance." This contribution comes as a post-workshop interview about how that music came into being.
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Conference papers on the topic "Vocal music Sri Lanka"

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C. Ranasinghe, Kavindu, Shyama C. Kumari, Dawpadee B. Kiriella, and Lakshman Jayaratne. "Computational approach to train on music notations for visually impaired in Sri Lanka – Adaptive music trainer for visually impaired." In Annual International Conference on Computer Games Multimedia and Allied Technologies (CGAT 2014). Global Science and Technology Forum, 2014. http://dx.doi.org/10.5176/2251-1679_cgat14.09.

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Mendis, B. I. L. M. "Music Preferences across Different Socio-Economic Classes in Selected Urban and Sub Urban Areas of Sri Lanka." In 3rd International Conference on Research in Humanities and Social Sciences. Acavent, 2020. http://dx.doi.org/10.33422/3rd.icrhs.2020.09.186.

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Senevirathne, S. M. D. N. K. "The First Buddhist Cantata in the World; Piriniwanmangallaya(The Death of the Lord Buddha),A New Approach to Modern Music in Sri Lanka." In 6th International Conference on Modern Approach in Humanities. acavent, 2018. http://dx.doi.org/10.33422/6mah.2018.11.35.

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