首页> 外文学位 >Balinese discourses on music: Musical modernization in the ideas and practices of shadow play performers from Sukawati, and the Indonesian College of the Arts.
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Balinese discourses on music: Musical modernization in the ideas and practices of shadow play performers from Sukawati, and the Indonesian College of the Arts.

机译:巴厘岛关于音乐的论述:来自Sukawati和印度尼西亚艺术学院的皮影戏表演者的思想和实践中的音乐现代化。

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摘要

While many Western scholars have discussed the technical aspects of Balinese music, or the traditional contexts for performance, little has been written in Western languages about Balinese discourses on their music. This dissertation examines the human reality and experience of music in Bali through an analysis of oral and written Balinese discourses on music, mainly by musicians and dalangs (shadow play puppeteers) from the village of Sukawati---renowned for the shadow play tradition---and scholars, teachers, administrators, and students from the Indonesian College of the Arts (STSI) in the city of Denpasar. These two areas provide a useful contrast between the musical thought of a traditional village and that of an urban, modern college. At the same time, these discourses interrelate since many of the Sukawati performers are faculty or students at the college.; This dissertation intertwines different strands of discourse in order to explore the effects of modernization on the study and performance of Balinese music. In particular, I explore changes in performance practice and audience response; modern arts education and its emphasis on research, scholarship, and theory in institutional learning; the ongoing importance of prayer and taksu (divine inspiration) to performance; the social and economic role of Balinese arts in Indonesia's cultural policy; and, the political function of Balinese arts for cultural diplomacy.; The material I have used is derived from lengthy discussions I had with Balinese musicians, shadow puppeteers, and scholars, and close readings of Balinese texts on music, gathered during periods of field study and archival work in Bali in 1990, 94, and particularly in 1996. In addition, my previous musical studies of gender wayang in Bali in 1985, 86, and 88 laid the musical groundwork for this study.; A concentration on Balinese discourses enables individual performers and scholars to represent themselves to a greater extent than previously seen in ethnomusicological scholarship, making this study more of a critical discussion among equals than a Western interpretation of "others." This approach permits a rare view into contemporary Balinese conceptions and practices of music.
机译:尽管许多西方学者已经讨论了巴厘岛音乐的技术方面或传统演奏背景,但西方语言中关于巴厘岛音乐的论述却很少。本论文通过对口头和书面巴厘岛音乐话语的分析,考察了巴厘岛的人类现实和音乐经验,这些话语主要来自Sukawati村(以皮影戏传统着称)的音乐家和达朗人(皮影戏)。 -以及登巴萨市印尼艺术学院(STSI)的学者,教师,管理人员和学生。这两个区域在传统村庄的音乐思想与城市现代大学的音乐思想之间提供了有用的对比。同时,由于许多Sukawati表演者都是学院的教授或学生,因此这些论述是相互关联的。本论文将不同的话语交织在一起,以探讨现代化对巴厘岛音乐研究和表演的影响。我特别探讨表演实践和观众反应方面的变化;现代艺术教育及其在机构学习中对研究,学术和理论的重视;祈祷和塔克苏(神的灵感)对表演的持续重要性;巴厘岛艺术在印度尼西亚文化政策中的社会和经济作用;以及巴厘岛艺术在文化外交中的政治作用。我使用的材料取材自我与巴厘岛音乐家,皮影戏手和学者进行的长时间讨论,以及1990年在巴厘岛进行的田野研究和档案工作期间,特别是在1990年, 1996年。此外,我之前在1985年分别以86和88在巴厘岛进行的关于性别性别的音乐研究为该研究奠定了音乐基础。与以前的民族音乐学研究相比,专注于巴厘岛话语可使个人表演者和学者在更大程度上代表自己,这使该研究更像是平等之间的批判性讨论,而不是西方对“他者”的解释。这种方法使人们对当代巴厘岛的音乐观念和音乐实践有了罕见的见解。

著录项

  • 作者

    Heimarck, Brita Renee.;

  • 作者单位

    Cornell University.;

  • 授予单位 Cornell University.;
  • 学科 Anthropology Cultural.; History Asia Australia and Oceania.; Music.
  • 学位 Ph.D.
  • 年度 1999
  • 页码 462 p.
  • 总页数 462
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 人类学;世界史;音乐;
  • 关键词

  • 入库时间 2022-08-17 11:48:19

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