The Java Traditional Music Record History After WW II Era 1970(Sejarah Rekaman Musik Traditional Jawa)

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    BUNGA IDOLA PENEMU : BUNGA KERAJAAN MING SERUNAI( CHRYSANTHENUM)

  

                         WELCOME TO THE MAIN HALL OF FREEDOM               

                     SELAMAT DATANG DI GEDUNG UTAMA “MERDEKA

                     Please Enter

                    

              DMRC SHOWROOM

(Driwan Music Record Cybermuseum)

 

SHOWCASE :

The Java Traditional  Music record History(Sejarah rekaman Musik Traditional Jawa)Frame One :

Before WW II(Sebelum Perang Dunia Kedua)

Frame Two:

After WW II(Sesudah Perang Dunia Kedua)1. 2.Music Of Indonesia :Javanese ,Recording Music Of Indonesia.

Kesenian Djawa Studio Surakarta under the direct of R.Ng.Hardjosasmojo

 

GENDING-GENDING DJAWA SIDE 2

1) Srepengan Pangkur Palaran S 9, composer Unknown ,soloist Tukinem

2)Srepengan Danadan Gulo Temanten Andjar S1.9,composer unknown, soloist Tambang Raras

Gending-Gending Djawa SIDE 1

1) Ketawang Sinom Paridjoto S. MJR, composer unknown ,soloist nji Bei Mardusari

2) Ketawang Midjil Sulastri P. br, composer unknown,soloist Roro Pondang

Gending Java Information

a.

 b.Gending Jawa dan Pewayangan

 

// //

lagu – lagu jawa terus mengalir ketika dunia pewayangan sedang berlangsung dalam sebuah cerita .
dan memberikan ruang tersendiri bagi penggemar wayang untuk sejenak menghibur dalam arti jeda dalam pertengahan cerita . apabila kita rasakan lagu – lagu itu akan membuat tenteram hati kita dan membuat kita lebih santai

tidak hanya itu tapi gending jawa dalam dunia pewayangan juga memberikan kekayaan untuk negara indonesia yang merupakan budaya asli indonesia yang harus kita jaga kelestariannya dengan cara selalu memainkannya dalam setiap upacara adat dan cara yang lain .

dunia pewayangan juga memberikan karakter sendiri akan cir khusus dari gending jawa yang tidak ad apa lagu lain , dunia pewayangan sebenarnya mempunyai nilai seni yang tinggi jika kita bisa menghayati setiap alunan musik dan cerita yang disajikan dalam dunia pewayangan . // //

Diposk

 

c.The expert Of Gending Java

CURRICULUM VITAE

Marc Perlman

1 January 2010

1. Marc Perlman, Associate Professor, Music.

2. Department of Music, Box 1924, Brown University, Providence, RI, 02912.

3. Education.

Ph.D. (Ethnomusicology), Wesleyan University, 1994. Dissertation title:

“Unplayed Melodies: Music Theory in Postcolonial Java.”

Master of Arts (Music), Wesleyan University, 1978. Thesis title: “Toward

a Philosophy of Ethnomusicology.”

Bachelor of Arts (Music), Hampshire College (Amherst, MA), 1974.

4. Professional appointments.

1987-90 Consultant, Ford Foundation (Southeast Asia Office) emplaced at the

Ethnomusicology department of North Sumatra University (USU), Medan,

Indonesia, with responsibility for curriculum design, teaching courses,

producing teaching materials, overseeing and conducting research, and

developing the resources of the Archives.

1993-94 Visiting Assistant Professor, Department of Music, Tufts University.

1994-95 Society Fellow, Society for the Humanities, Cornell University.

1995-96 Visiting Assistant Professor, Department of Music, Brown University.

1996-2003 Assistant Professor, Department of Music, Brown University.

2003-date Associate Professor, Department of Music, Brown University.

5. Completed research, scholarship and/or creative work.

(a) books/monographs.

2004

Unplayed Melodies: Javanese Gamelan and the Genesis of Music Theory. 

Berkeley: University of California Press.

2

(b) parts of books.

2001 “Mode V, 4: South-east Asian

pathet.” New Grove Dictionary of Music

and Musicians,

second edition. Vol. 16, pp. 844-852. This is a revision of

part of the entry written by Harold S. Powers for the 1980 edition. It is

7300 words long, of which 2100 are my revision of Powers’ original text,

and 5200 are newly written.

2001 “Indonesia VII: Sumatra.”

New Grove Dictionary of Music and

Musicians,

second edition, pp. 344-351 (6000 words).

2003 “Consuming Audio: An Introduction to Tweak Theory.” Pages 346-357

in René T. A. Lysloff and Leslie C. Gay, Jr. (eds.),

Music and

Technoculture

(Wesleyan University Press).

2008 “Prolegomena to the Computational Modeling of Javanese Gamelan

Music.” Pages 97-108 in Gerd Grupe (ed.),

Virtual Gamelan Graz: Rules

Grammars Modelling.

Aachen: Shaker Verlag.

(c) refereed journal articles.

1983 “Notes on ‘A Grammar of the Musical Genre,

Srepegan.’” Asian Music 

14(1):17-29.

1994 “American

Gamelan in the Garden of Eden: Intonation in a Cross-Cultural

Encounter.”

Musical Quarterly 78(3):484-529.

1996 “An Experimental Study of Internal Interval Standards in Javanese and

Western Musicians.” (With second author Carol L. Krumhansl,

Department of Psychology, Cornell University.)

Music Perception 

14(2):95-116.

1997 “Conflicting Interpretations: Indigenous Analysis and Historical Change

in Central Javanese Music.”

Asian Music 28(1):115-140.

1998 “The Social Meanings of Modal Practices: Status, Gender, History and

Pathet

in Central Javanese Music.” Ethnomusicology 42(1):45-80 (Winter

1998).

1999 “The Traditional Javanese Performing Arts in the Twilight of the New

Order: Two Letters from Solo.”

Indonesia no. 68, pp. 1-37.

2003 “Consuming Audio: An Introduction to Tweak Theory.”

Tijdschrift voor

Mediageschiedenis

6(2):117-128. (Reprinted from Music and

Technoculture.

)

3

2004 “Golden Ears and Meter Readers: The Contest for Epistemic Authority in

Audiophilia.”

Social Studies of Science 34(5):783-807

(d) non-refereed journal articles (and other publications).

1983 “Reflections on the New American Gamelan Music.”

Ear 8(4):4-5.

1988 Rahayu Supanggah, “Balungan.” Translated by Marc Perlman.

Balungan 

3(2):2-10 (October 1988).

1989 “Musik Mana yang Paling `Puncak’?” [Whose Music is “On Top”?]

Mimbar Umum

(Medan) 23-24 October 1989.

1990 “Kekecualian Musikal Sebagai Akibat Peminjaman: Suatu Contoh dari

Sejarah Karawitan Gaya Surakarta.” [Musical Exceptions as the Result of

Borrowing: An Example from the History of Surakarta-Style Gamelan

Music.]

Seni Pertunjukan Indonesia: Jurnal MMI [Journal of the

Indonesian Musicological Society] 1:137-154.

1990 Microfilm targets (abridged) for 14 manuscripts dealing with Javanese

music, published in T. E. Behrend (ed.),

Katalog Induk Naskah-naskah

Nusantara: Museum Sonobudoyo

(Jakarta: Djambatan).

1991 “Asal Usul Notasi Gendhing Jawa di Surakarta: Suatu Rumusan Sejarah

Nut Ranté

” [The Origin of Gendhing Notation in Surakarta: A Sketch of

the History of

Nut Ranté.] In Seni Pertunjukan Indonesia: Jurnal MMI 

[Journal of the Indonesian Musicological Society] 2:36-68.

1991 “The Term

Karawitan.” Balungan 5(1):28.

1991 “The Javanese Calendar” and “Surakarta: Introduction” in Eric Oey (ed.),

Java

(Singapore: Periplus).

1992 Liner notes for the recording,

Batak Music of North Sumatra (New Albion

Records 046 CD).

1993 Liner notes for the recording,

American Works for Balinese Gamelan

Orchestra

(New World Records 80430-2).

1994 “Sekar Jaya: Balinese Music in America.”

Rhythm Music Magazine 

3(4):34-35, 50.

1998 “Early-Music Talk Begins to Heat Up Again.”

New York Times Arts &

Leisure section, Sunday 14 June 1998, pp. 29, 36. (1815 words)

4

1999 “

Ra Ngandel: Martopangrawit’s Last ‘Experimental’ Composition.”

Balungan

6(1-2):12-17.

2000 Liner notes for the recording,

Evan Ziporyn/Gamelan Galak Tika. New

World Records 80565-2.

2003 “Why File-Sharing Doesn’t Feel Like Stealing.”

George Street Journal 

28(2):8 (19-25 September 2003).

2005 “How a French Baroque Motet Is Like a Melanesian Folk Song.”

Andante.com,

August 2005. Available at

(e) book and recording reviews

1983 Record Review: “Music for Sale.”

Ethnomusicology vol. 26.

1993 Book Review:

Traditions of gamelan music in Java. MLA Notes 50(1):85-

88.

1993 “The Music of K. R. T. Wasitodiningrat” (record review).

Balungan 5(2).

1993 “Idioculture: De-Massifying the Popular Music Audience” (review-essay).

Postmodern Culture

4(1). Available electronically as REVIEW-7.993

from LISTSERV@LISTSERV.NCSU.EDU, or on diskette from Oxford

University Press.

1997 “The Ethnomusicology of Performer Interaction in Improvised Ensemble

Music.” A review-essay dealing with Benjamin Brinner,

Knowing music,

making music

and Ingrid Monson, Saying something: Jazz improvisation

and interaction

. Music Perception 15(1):99-112.

1998 “Indonesian Traditions on Disc: The Rhetoric of the Ethnomusicological

Recording.” A review-essay dealing with twelve compact discs,

Music of

Indonesia

, vol. 1-12. Smithsonian/Folkways SF 40055-57, 40420-40428.

Ethnomusicology

42(1):167-174 (Winter 1998).

1999 “Trance Gong” (CD review).

Asian Music 30(1):194-197.

2005 “Music of the

Gambuh Theater” (CD review). Asian Music 36(2):120-

125.

(g) Invited lectures.

5

1988 “Renungan di Hadapan Para Ahli Waris.” [Musing in the Presence of the

Inheritors.] Paper delivered at the Commemoration of the Eighth

Anniversary of the Death of Lily Suheiry (Medan, Indonesia).

1988 “Melacak ‘Pathet Keempat’ dalam Karawitan Gaya Surakarta.” [On the

Trail of the ‘Fourth

Pathet‘ in Surakarta-Style Gamelan Music.] Paper

delivered to the Music Department of the Akademi Seni Karawitan

Indonesia (Surakarta, Indonesia).

1989 “The State of Ethnomusicology in Indonesia.” Delivered to the Seminar

on Form and Function in Ethnomusicology at Mahidol University,

Nakornpathom, Thailand.

1989 “Seni Ronggeng Melayu Deli.” [The Art of the Deli

Ronggeng Melayu.]

Delivered at the Cultural Center of the Universiti Malaya, Kuala Lumpur,

Malaysia.

1990 “Pameran KIAS dari Sudut Pandangan Antropologis.” [The Festival of

Indonesia from an Anthropological Point of View.] Delivered to the

Department of Anthropology, Universitas Sumatera Utara, Medan,

Sumatra.

1990 “Young Niwatakawaca.” Delivered to the Department of Sociology,

National University of Singapore.

1991 “

Wayang Kulit among the Aristocrats and the Theosophists.” Presented at

the conference,

Indonesian Music: Twentieth Century Innovation and

Tradition,

Berkeley, California.

1991 “The Spirits Speak through the Flute: A Toba Batak Spirit Medium in

New Order Indonesia.” Presented to the Southeast Asia Program, Cornell

University.

1992 “American

Gamelan in the Intonational Garden of Eden.” Presented to the

Music Department, University of California at Berkeley.

1994 “Beyond ‘The Old Exoticism Trip’? American Composers and Indonesian

Music.” Presented at the Center for Literary and Cultural Studies, Harvard

University.

1994 “The Culture of Audiophilia.” Presented at the national meeting of the

Society for Ethnomusicology, October 19-22, Milwaukee.

1995 “Psychology and Ethnomusicology: A Cross-Cultural Experimental Study

of Pitch Perception and the Puzzle of Javanese Scales.” Presented to the

Music Department, Wesleyan University, November 15.

6

1995 “Women’s High Frequency Hearing, Simulated Ears, and Alternative

Medicine: Further Thoughts on Audiophilia.” Presented at the

preconference on Music and Technoculture at the national meeting of the

Society for Ethnomusicology, October 18, Los Angeles.

1996 “Orientalism in Music.” Panel discussion with Edward Said, Linda

Nochlin, Sumarsam, Carol Oja, and Marc Perlman, presented in

conjunction with a concert series by the Brooklyn Philharmonic, 16

February 1996.

1998 “Music Technology and Cultural Memory.” Presented at the international

conference on Performance and Mediatization, held at Leiden University,

Leiden, The Netherlands, 1-5 December 1998.

1998 “The Psychology and Politics of Music Notation: Writing Down an Oral

Tradition.” Presented at University College Cork, Cork, Ireland, 14

December 1998.

1999 “Two Theories of Implicit Melody: The Role of Intra-Domain Projection

in the Genesis of Abstract Musical Concepts.” Presented to the

conference “Music, Culture, Mind” at the Franke Institute for the

Humanities, University of Chicago, 26-27 February 1999.

1999 “Talking About Expressive Rhythm.” Presented to the Music Department,

University of Virginia at Charlottesville, 23 April 1999.

1999 “Politics and Traditional Theater in Java: A Debate Over the Role of

Wayang

in Post-New Order Indonesia.” Presented to the Music

Department, Wesleyan University, 6 May 1999.

1999 “Where is the Melody? Unplayed Melodies in Indigenous Javanese Music

Theory.” Presented to the annual meetings of the Society for Music

Theory, Emory University, Atlanta, Georgia, 11-14 November 1999.

1999 “Ethnomusicology and Intellectual Property.” Presented to the annual

meetings of the Society for Ethnomusicology, University of Texas, Austin,

18-21 November 1999.

2000 “The Invention of Music Notation in Java (Indonesia): Three Views of the

Psychology and Politics of Music Writing.” Presented to the School of

Music, Ohio State University, Columbus, Ohio, 3 March 2000.

2001 “Localizing a Global Technology, c. 1870: The Invention of Music

Notation in Central Java.” Presented to the School of Oriental and African

Studies, University of London, 22 February 2001, London, United

Kingdom.

7

2001 “Improvised, But Not Improvisatory? The Nature of Melodic Variation in

Central Javanese Gamelan Music.” Presented to the Study Day on

Improvisation, convened by John Rink for the Royal Musical Association

and the Society for Musical Analysis at Royal Holloway, University of

London, 24 February 2001, Egham, United Kingdom.

2001 “Cognitive Perspectives on Musical Knowledge: Order, Disorder, and

Fluidity.” Presented to the Center for Advanced Study in the Behavioral

Sciences, Stanford University, 18 September 2001.

2001 “What Makes Improvisation Improvisatory?” Presented to the

Department of Music, University of Texas at Austin, 12 November 2001.

2001 “Cultural Models of Musical Performance in Bali and the West: Relating

Music and Culture After the ‘Demise’ of the Culture Concept.” Presented

to the Department of Anthropology, University of Texas at Austin, 14

November 2001.

2002 “Cultural Models of Performance in Western Art Music and the Balinese

Performing Arts: Relating Music and Culture After the ‘Demise’ of the

Culture Concept.” Presented to the Department of Music, University of

California, Berkeley, 25 January 2002.

2002 “The Balinese Concept of

Taksu.” Presented to the Wesleyan Gamelan 

Conference, Wesleyan University, 20 April 2002.

2002 “Someone Else’s Songs.” Presented to the Stanford Humanities Center,

Stanford University. 9 May 2002.

2002 “The Analogical Basis of Abstract Musical Concepts: Ethnographic

Histories of Music Theory in Indonesia and Western Europe.” Presented

to the Department of Music, Stanford University, 20 May 2002.

2002 “Golden Ears and Meter Readers: The Contest for Epistemic Authority in

Audiophilia.” Presented to the

Sound Matters international conference at

the University of Maastricht, the Netherlands, 15-17 November 2002.

2002 “Appropriating Audio: Consumption Theory and the Practice of

Tweaking.” Presented to the Department of Music, Vassar College, 4

December 2002.

2003 “Gamelans Abroad: The Spread of Gamelan Study Outside of Indonesia.”

Contributed to the panel, “Resonance in Indonesia,” commemorating the

40

th anniversary of Wesleyan University’s World Music Program,

Wesleyan University, 20 February 2003.

8

2003 “Musical Reinterpretations Local and Global: Javanese Gamelan in

Indonesia and America.” Presented to the Department of Music, Yale

University, 27 February 2003.

2003 “Re-Indianizing the Javanese Shadow Theater: Theosophy, Indology, and

the ‘Invention’ of Tradition in Late-Colonial Java.” Presented to the

Center for Southeast Asian Studies, University of Wisconsin, Madison, 25

April 2003.

2004 “The Art of Javanese Gamelan Music.” Illustrated lecture, Juilliard

Conservatory, New York City, 25 February 2004.

2004 “Music, Virtual Shoplifting, and Participatory Culture: Prolegomenon to

the Ethnomusicological Study of Peer-to-peer Music Downloading.”

Lecture presented to the Department of Music, Wesleyan University, 6

October 2004.

2006 “Constituting Musical Entities: A Cross-cultural Approach.”

Presented to

the Department of Music, Columbia University, 14 April 2006.

2006 “The Continuum of Regularity: Prolegomena to the Computational

Modeling of Javanese

Gamelan Music.” Presented to the symposium

“Virtual Gamelan Graz: Rules – Grammars – Modeling,” held at the

Institute of Ethnomusicology, Universität für Musik und darstellende

Kunst, Graz, Austria, 27-28 October 2006.

2006 “File-sharing, Copyright, and Anti-Corporate Activism.” Presented at

Skidmore College, Saratoga Springs, NY, 29 November 2006.

2007 “Scenes from the Prehistory of Harmonic Analysis: A Cognitive Approach

to the History of Music Theory.” Presented to the Department of Music,

University of Massachusetts at Amherst, 5 March 2007.

2007 “A Cognitive Approach to the History of Music Theory: Patterns of

Discovery from Zarlino (1517-1590) to Diz (1917-1993).” Presented to

the Department of Music, Yale University, 13 April 2007.

2007 “Music, Values, and the Value of Music.” Keynote address to the Five

College Ethnomusicology Symposium, Amherst College, 15 April 2007.

2007 “Is Copyright Unable to Protect Traditional Cultural Expressions? A Case

Study from Taiwan.” Presented to the workshop, “Traditional Arts: A

Move Toward Protection in Indonesia.” Cemara Gallery, Jakarta,

Indonesia, 16 June 2007.

9

2007 “The Indonesian Traditional Arts as Cultural Products.” Presented to the

seminar,

Warisan Budaya dan Ekonomi Kreatif (Cultural Heritage and the

Creative Economy), Indonesian Department of Commerce, Jakarta

Convention Center, Jakarta, Indonesia, 11 July 2007.

2007 “Cultural Models of Performance in Balinese and Western Music.”

Presented to the Department of Music, University of Maryland at College

Park, 9 November 2007.

2008 “How Did Performance Reclaim Its Ancient Freedoms? Improvisation’s

Enigmatic Return to Early Music.” University of California at Davis, 3

March 2008

2008 “The Paradox of Empowerment: Traditional Music between Stewardship

and Ownership in International Intellectual Property Law.” University of

California at Berkeley, 18 April 2008

2008 “Colin McPhee, Balinese Music, and Jazz.” Pomona College, 25 April

2008

2008 “A Cognitive Approach to the History of Music Theory: Patterns of

Discovery from Zarlino (1517-1590) to Diz (1917-1993).” Stanford

University, 19 May 2008

2008 “Warisan Budaya Indonesia dan Hubungan Internasional dari Sudut

Pandangan Sosio-budaya dan Hukum.” [Indonesian Cultural Heritage and

International Relations: Sociocultural and Legal Perspectives.] Indonesian

Department of Foreign Affairs, Jakarta, 11 August 2008

2008 “Protecting Traditional Music: Constructing Normative Global Regimes

of Ownership.” University of Pennsylvania, 23 September 2008

2008 “Money Changes Everything: Normative Regimes of Music-Sharing in the

Internet Age.” Brown Legal Studies Seminar, Brown University, 26

September 2008

2008 “The Idea of Remix: An Ethnomusicological Perspective.” Students for a

Free Culture, University of California at Berkeley, 11 October 2008

2008 “An Iron Cage for Culture? Traditional Music between Exploitation and

Regulation.” University of Washington, Seattle, 20 November 2008

2008 “An Iron Cage for Culture? Traditional Music between Exploitation and

Regulation.” University of British Columbia, Vancouver, Canada, 21

November 2008

10

2009 “Cultural Property and Its Discontents: From Holism to Deconstruction.”

Presented to the Department of Music, Wesleyan University, 25 February

2009.

2009 “Protecting Traditional Culture: Global Regimes of Stewardship and

Ownership.” Presented to the Centre Asie du Sud-Est, École des Hautes

Études en Sciences Sociales and Centre National de la Recherche

Scientifique. Paris, 26 March 2009.

2009 “The Future of Music: File-Sharing and Beyond.” A contribution to “Face

the Music: An Open Conversation About File Sharing.” A panel

discussion sponsored by the Rhode Island School of Design, the Federal

Branch/Bar Committee of the Rhode Island Bar Association, and the

United States District Court for the District of Rhode Island. Rhode Island

School of Design, Providence, RI, 23 April 2009.

2009 Discussant for the International Meeting at the Future of Music Coalition

Policy Summit, Georgetown University, Washington, DC, 4 October

2009.

2009 “The Scandal of Ethnomusicology and the Ethnomusicology of Scandal:

Rumors of Exploitation in the Global Circuits of Traditional Music.”

Presented to the

Journée d’Automne de la Société Française

d’Ethnomusicologie.

Université de Paris (Sorbonne), Paris, France, 12

December 2009.

2009 “Unplayed Melodies in Javanese

Gamelan Music: An Ethnographic

History of Music Theory.” Presented to the Research Center for

Ethnomusicology, University of Paris X (

Université Paris Ouest Nanterre

La Défense

) Nanterre, 14 December 2009.

(h) Papers read.

1987 “Sekelumit Contoh Perubahan Musikal dalam Karawitan Gaya Surakarta.”

[A Few Examples of Musical Change in Surakarta-Style Gamelan Music.]

Paper delivered at the Third Indonesian Ethnomusicology Conference

(Medan, Indonesia).

1988 “Lagu Ronggeng Melayu Deli: Suatu Catatan Perbandingan.” [A

Comparative Note on the Melodies of the

Ronggeng Melayu Deli.] Paper

delivered at the Fourth Indonesian Ethnomusicology Conference, held at

the Institut Seni Indonesia (Yogyakarta, Indonesia).

11

1989 “Asal Usul Notasi Gendhing Jawa di Surakarta: Suatu Rumusan Sejarah

Nut Ranté

” [The Origin of Gendhing Notation in Surakarta: A Sketch of

the History of

Nut Ranté.] Delivered at the First Conference of the

Indonesian Musicological Society, 29 October 1989, Jakarta, Indonesia.

1991 “Forgetting the Foreign: The King of Siam, Theosophy, and the Central

Javanese Performing Arts in a Colonial Context.” Presented to the annual

meeting of the Society for Ethnomusicology, Chicago, Illinois.

1991 “Public Transportation and Traditional Music in West Sumatra.”

Presented to the annual meeting of the Mid-Atlantic Chapter of the

Society for Ethnomusicology, Columbia University, New York.

1993 “The Politics of Modality in Central Javanese Music.” Paper presented at

the annual meeting of the Northeast Chapter, Society for

Ethnomusicology, Tufts University.

1995 “Music’s Power: A Balinese Case Study in Ethno-Performance Theory.”

Presented at the national meeting of the Society for Ethnomusicology,

October 19-22, Los Angeles.

1995 “ContempoRitual Art and Mystical Tourism in Indonesia.” Presented at

the national meeting of the Association for Asian Studies, Washington

D.C.

1996 “Colonial Domination, Cognition, and the Birth of Indigenous Javanese

Notation.” Presented to the national meetings of the Society for

Ethnomusicology, Toronto.

1996 “Pedagogy and Subjectivity: The Origins of the American Music

Appreciation Movement, 1888-1932.” Presented to the conference,

“Managing the Love of Music,” Brown University, 21 September.

1997 Introduction to the panel, “The Local Uses of Distant Music,” at the 42nd

annual meeting of the Society for Ethnomusicology, Friday October 24,

1997.

1999 “‘A Crystal Sound, Aerial and Purely Sensuous’: Colin McPhee, Interwar

Musical Modernism, Exotic Hedonism, and Bali.” Presented to the

Annual Meeting of the Association for Asian Studies, Boston, 11-14

March 1999.

1999 “Analogy and the Genesis of Abstract Musical Concepts.” Presented at

the annual meetings of the Society for Ethnomusicology, University of

Texas, Austin, November 1999.

12

2000 “Sensuous Impersonality: Aural Orientalism, Jazz, and Colin McPhee’s

Theory of Polyrhythm.” Presented to the Oxford Music Analysis

Conference (OxMAC 2000), 22-24 September, Oxford University.

2000 “Making Connections with Past Times and Distant Cultures.” Response

to the panel, “Crossing Over: Intersecting Cultures in 20

th Century

Indonesian Performance.” New England Conference of the Association

for Asian Studies Annual Meeting, Brown University, 30 September 2000.

2000 “Remembrance of Music Media Past.” Opening lecture in the Music

Department Colloquium Series, 2000-2001. 17 October 2000.

2005 “Empowerment, Theft, Democracy, Greed, and Social Protest: The Moral

Imagination of File-Sharing.” Presented to the annual meeting of the

Society for Ethnomusicology, Atlanta, 20 November 2005.

2006 “Social Creativity versus Secrecy: What Is To Be Done?”

Presented to the

conference “Con/Texts of Invention,” as discussant’s remarks for the

panel

“Traditional Knowledges” (Case Western Reserve University, 22

April 2006).

2006 “Intense Joy and Intense Shame: Dealing with the Ambivalence of File-

Sharing.”

Accepted for presentation at the conference “Ain’t It A Shame,”

Experience Music Project (Seattle, WA, 29 April 2006).

Declined. 

2006

“Music and Intellectual-Property Activism: The Case of Internet File-

Sharing.” Presented at the conference, “Music and the Public Sphere”

(University of California at Los Angeles, 12-13 May 2006).

2006 “Variability’s Destabilizing Potential: A Comparative Approach.”

Presented at the 51

st annual conference of the Society for

Ethnomusicology, Honolulu, 16-19 November 2006.

2007 “The Global Empowerment of Intangible Cultural Heritage: Between

Stewardship and Ownership.” Presented to the annual meetings of the

American Folklore Society, Quebec, Canada, 20 October 2007.

2007 “The Value of Music: Regimes of Worth in the Webcasting Royalty

Debates.” Presented to the annual meetings of the Society for

Ethnomusicology, Columbus, Ohio, 26 October 2007.

2008 “Toward the Global Governance of Traditional Music: Paradoxes of

Stewardship and Ownership.” Presented to the annual meeting of the

Society for Ethnomusicology, Wesleyan University, 25-28 October 2008

13

2009 “Rumors of Exploitation: The Symbolic Economy of Traditional Music

Recordings.” Contributed to the panel, “Traditional Music Recordings as

Sites of Contestation: Issues of Ownership and Representation,” at the

annual meetings of the Society for Ethnomusicology, Mexico City, 19-22

November 2009.

(i) Work in review.

(j) Work in progress.

Someone Else’s Songs: Identity and the Varieties of Musical Mobility.

During my

fellowship year at the Stanford Humanities Center I resumed work on a topic that has

concerned me since 1997, when I organized a panel, “The Local Uses of Distant Music,”

at the annual meeting of the Society for Ethnomusicology. This project concerns musical

border-crossers, people who fervently embrace music to which they have no “primordial”

claim of birthright. I ask what such border-crossing can teach us about the relationship

between music and identity more generally.

At present I expect two publications to result from this research: a book, and an

edited collection. In the book I will distinguish types of border-crossing, relate them to

the existing literature on syncretism and revivals, consider moral and legal aspects of the

question of cultural appropriation, and discuss musical border-crossing as a form of

cosmopolitanism. (The University of California Press has expressed interest in this book

project.) In the edited collection I will unite the papers first presented at the 1997 panel

with papers contributed to the “Music and Identity” lecture series I organized at Stanford,

and papers presented at a conference I convened at Brown on 7 February 2004. I have

approached the editor of the journal

Ethnomusicology about the possibility of publishing

these papers as a special issue.

Models of Performance.

My article in the New York Times, “Early-Music Talk

Begins to Heat Up Again,” is the by-product of a much larger project concerning cultural

models of performance. I compare ideas about the act of performance in two very

different traditions: Western art music, and the Balinese performing arts. In the Western

case I examine how performance decisions are justified and legitimated, and how

performers are evaluated. For this purpose, it is helpful to look at disputes over

performance, where culture-carriers are more likely to articulate their (normally takenfor-

granted) assumptions and expectations. I focus on two debates: the so-called

“authenticity” debate in the Historical Performance (“original instruments”) movement,

and the controversy over the pianist Vladimir Horowitz. In the Balinese case I examine

the concept of

taksu, a notion of performative power that has clear religious associations,

but is interpreted in varying ways by different performers.

Inaudible Rhythms: Micro-Rhythmic Variation in Javanese

Gendèr-Playing. 

Continuing my efforts to bring a cross-cultural dimension to the psychology of music, I

14

am studying the Javanese equivalent to what psychologists call “expressive rhythm” in

Western art music. Western performers do not play notated rhythms with metronomic

precision, but introduce millisecond deviations which, though not perceived as such, give

the music life. Although there is no written score in Javanese music, Javanese performers

too vary their rhythms on the millisecond level. I have recorded ten musicians

performing the same composition on the

gendèr barung in order to compare their use of

micro-rhythmic variation. At present there is virtually no published research on microrhythmic

variability in any non-Western tradition. This project is thus important in

opening up the question of the possible universality of micro-rhythmic variation.

Aural Orientalism.

It is well-known that representations of the Other often tell us

more about those doing the representing than about the ones ostensibly represented. In

the study of musical exoticism this has usually been demonstrated through analyses of the

devices used to represent the Other in Western musical texts. But in the case of

composers who engaged in ethnomusicological fieldwork we can also study their

attitudes toward the music they researched. To date, the most intense scrutiny of this sort

has been directed at Bartók’s changing conceptions of Hungarian peasant and Gypsy

music, and their role in his attempts to forge a sense of musical self-identity. I focus on

Colin McPhee (1900-1964), whose fascination with Balinese music was not so obviously

tied to a search for musical roots, but was an expression of the anti-Romantic aesthetics

common in his youth. McPhee rejected (what was then felt to be) the grandiloquent,

egotistical, hyper-emotionality of Romanticism, but not in the name of cerebral musical

intellectualism—rather, he championed a

sensuous impersonality, one that celebrated the

body and its corporeal pleasures. McPhee thought he heard this sensual objectivity in

Balinese music, and he elaborated a theory of kinesthetic rhythm to explain what he

considered to be the anti-expressive character of both Balinese gamelan and jazz.

Improvisation in Javanese Music.

Ethnomusicologists have long felt uncertain

how to describe the melodic variability of Javanese music: in some respects it seems to

represent what we are used to calling improvisation, but the term seems not completely

appropriate. However, the classic methodology for studying improvisation—the

comparison of multiple renditions of a single item by a single performer—has only

occasionally been applied to Javanese music, and then only with recordings made in

artificial, isolated contexts. I have recorded seven performances of a single composition

by a single musician in a naturalistic setting (with full gamelan) over a three-year period.

I have transcribed these renditions and will analyze them to provide a rounded portrait,

more complete than anything now available, of the techniques of variation in Javanese

performance.

The Birth of Javanese Music Notation.

Ethnomusicologists have written

relatively little about notation, and much of the existing literature concerns the extent of

notation’s negative effects on oral traditions. We have largely neglected the processes

whereby musicians in unwritten traditions adopt or adapt notation. The history of

Javanese gamelan since 1870 presents an ideal opportunity to study these processes, as

musicians developed several notation systems over a period of decades, many of them

indebted to a greater or lesser degree to Western notation systems. However, a close

15

analysis reveals that the graphic devices borrowed from the West were radically

reinterpreted, and that the development of Javanese notation was the result of struggles

between professional musicians, aristocratic amateurs, and Western experts.

Gendhing of Central Java.

I am engaged in a long-term project to produce a

computer-searchable, annotated variorum edition of the traditional repertoire of the

Javanese

gamelan (as practiced in Surakarta). My aim is to bring together all known

variants of Surakarta-style compositions, providing historical and cultural background,

and notes on performance practice (including the uses of compositions in dance and

drama, as well as ceremonial occasions). I have already assembled a large collection of

published and unpublished sources of

gamelan notation, including 15 major manuscript

sources (many of which I found in the possession of private individuals and arranged to

have microfilmed for Indonesia’s National Library). Over the past several years, my

research assistants have helped me transcribe the manuscript and typescript sources into

computer-readable form. With David Huron of Ohio State University I am exploring the

possibility of encoding these into the HUMDRUM music-analysis software format. In

2004 I installed the Unix-based OS X operating system on my computer, and started

learning to program in Unix and HUMDRUM.

The Origins of the Music Appreciation Movement in America.

Music education in

the Western art music tradition was for most of its history a type of vocational training

for practitioners; only in the 19

th century did pedagogues address themselves specifically

to audiences, instructing them how to

listen to music. Around the turn of the 20th century,

American public high schools began offering courses in a similar spirit, courses later

described as “music appreciation.” In subsequent decades teachers used mechanical

devices in this work: first the player piano, then the phonograph. Orchestras began

presenting educational concerts; the growth of radio broadcasting after 1922 brought

“music appreciation” programs to millions. This movement has been criticized for

substituting passive cultural consumption for active involvement, and for diluting high

culture for mass consumption. A close historical analysis shows, however, that the music

appreciation movement was not simply an early stage in the commodification of music, a

brake on active amateur participation and an advertisement for musical consumerism. It

was a by-product of the solidification of a canon of recognized musical masterworks in

Western society, a body of work considered to monopolize every musical value.

During my fellowship at the Stanford Humanities Center I was able to discuss my

findings with Larry Cuban, the prominent historian of education, and I am currently

revising my work in light of his suggestions.

(k) other (performances, compositions, recordings)

Compositions

Learning By Ear

. For ensemble of pitched instruments. First performance: 28 February

1977, Middletown, CT.

16

Gendhing

Pamitran kethuk 2 kerep minggah ladrang Surung Dhayung (or ladrang

Candra-upa

), sléndro pathet sanga. Traditional Surakarta-style

composition for Central Javanese gamelan ensemble. (Only the

mérong,

or first movement, is newly composed; the ladrang sections are taken from

the traditional repertoire.) First performance: 29 October 1987, by the

gamelan group “Pertala” for Radio Konservatori, Surakarta, Central Java,

Indonesia.

Recordings

Bang on a Can Meets Kyaw Kyaw Naing.

Compact disc recording. Canteloupe Music

CA21023. Burmese music arranged for Western instruments. Performed

by Kyaw Kyaw Naing, the Bang on a Can All-Stars, and Marc Perlman.

2004.

Performances of Indonesian Musics

(N.B. Performances with American ensembles are too numerous to list here; only

performances with professional Indonesian ensembles and recent performances with

American ensembles are listed below.)

Performed on

gendèr barung with the musicians of the Mangkunegaran Palace gamelan

orchestra for various regularly-scheduled live radio broadcasts from the

Mangkunegaran; Surakarta, Central Java, 1986.

Performed on

gendèr barung (Javanese metallophone) with the musicians of the gamelan

ensemble of Radio Republik Indonesia Surabaya, for a

regularly-scheduled live radio broadcast; Surabaya, East Java, 1 July 1987.

Performed on

tataganing (Toba Batak drum-chime) with the Sarma ensemble; Medan,

North Sumatra, 30 December 1987.

Performed as

gérong (singer) with Javanese gamelan in a concert of the Brooklyn

Philharmonic Orchestra at the Brooklyn Academy of Music, 14-15

February 1996.

Performed with the New York Indonesian Consulate Gamelan Ensemble at the

Yogyakarta Gamelan Festival in Yogyakarta, Indonesia as a special guest

artist, at the invitation of the ensemble. I played

kendhang (drum) and

rebab

(two-stringed bowed lute). 3 July 1997.

Performed with the New York Indonesian Consulate Gamelan Ensemble at Symphony

Space, New York City. I played

kendhang (drum), suling (flute) and

rebab

(two-stringed bowed lute), and sang. 8 May 1999.

Performed with the Boston Village Gamelan at Tufts University, 8 September 1999.

Performed with the Boston Village Gamelan at the Cambridge Public Library, 22

October 1999.

17

Performed with the University of Texas Gamelan Ensemble, Austin, 20 November 1999.

I played

rebab, gendèr (metallophone), and sang.

Performed with the University of California (Berkeley) Gamelan Ensemble, Berkeley, 9

March 2002. I played

rebab and gambang. 

Performed with the University of Wisconsin (Madison) Gamelan Ensemble, 25 April

2003. I played

rebab.

Performed at a reception for the Honorable H. Wirayuda, Foreign Minister of the

Republic of Indonesia. United Nations, New York City, 27 September

2004.

Performed to accompany a

wayang kulit (shadow-puppet play) by Joko Santoso.

Symphony Space, New York City, 5 December 2004.

Performed Javanese gamelan music at a reception for the President of Indonesia, Susilo

Bambang Yudoyono. Hotel Pierre, New York City, 15 September 2005.

Performed Javanese gamelan music to accompany

wayang kulit (shadow-puppet play)

performances by Ki Purbo Asmoro at Symphony Space, New York City

(18 June 2006); Wesleyan University (30 June 2006), and the Freer

Gallery of the Smithsonian Institution, Washington, D.C. (6 July 2006).

Performances of Burmese Music

Performed traditional Burmese music on

sandaya (Burmese piano), with Kyaw Kyaw

Naing and Mar Mar Aye. Kyaw Kyaw Naing, a leading performer on the

pa’ waing

drum-chime, was Director of the National Burmese Traditional

Music Ensemble, 1978-1989. Mar Mar Aye, one of Burma’s leading

vocalists, has performed on Burmese national radio since the age of 8. I

performed a duet with Kyaw Kyaw Naing and accompanied Mar Mar

Aye’s singing. First Parish Unitarian Church, Brookline, 30 October

1999.

Performed traditional Burmese music (a repeat of the Brookline performance, at the

Pierce School, New York City, on 11 December 1999).

Performed Burmese music on

sandaya (piano) in concert with Burmese musicians Kyaw

Kyaw Naing and Mar Mar Aye. 100 Hester St., New York City, 16

December 2000.

Performed Burmese music (arranged for Burmese and Western instruments) with Kyaw

Kyaw Naing, Maung Maung Myint Swe, and the Bang On A Can All-

Stars, at the Bang On A Can Music Marathon 2001, Brooklyn Academy of

Music, 28 October 2001. This performance was broadcast by WNYC on

the program New Sounds (Monday, 29 October 2001, program #1965). It

can be heard on the station’s Web site,

http://www.wnyc.org/new/music/NewSoundsLive/BOACnsSched102901.html

Performed Burmese music (arranged for Burmese and Western instruments) with Kyaw

Kyaw Naing, Mar Mar Aye, Don Byron, and the Bang On A Can All-

Stars, at Alice Tully Hall, Lincoln Center, New York, 9 February 2002.

Performed traditional Burmese music with an ensemble of prominent musicians from

Rangoon, Myanmar, led by Kyaw Kyaw Naing; Asia Society, New York

City, 13 December 2003. I played

maung hsaing.

18

Directed Performances

Directed performances of Banaspati, the Brown University Balinese Gamelan Angklung

Ensemble, as follows:

December 11, 1995, with guest dancers Nyoman Catra and Desak Made Suarti Laksmi

April 24, 1996, at the Massachusetts Institute of Technology’s Kresge Auditorium, with

Gamelan Galak Tika

April 30, 1996, at Brown University, with Gamelan Galak Tika

December 9, 1996, at Brown, with guest dancers Nyoman Cerita, Putu Wulantari, Kadek

Puriartha, and Miranti Kisdarjono

December 10, 1996, at the College of the Holy Cross, Worcester, MA.

April 28, 1997, at Brown University, with guest dancers Nyoman Cerita, Putu Wulantari,

and Kadek Puriartha.

April 29, 1997, at the College of the Holy Cross, Worcester, MA.

December 11, 1997, at Brown University, for Convocation.

April 25, 1998, at Brown University, with MIT’s Gamelan Galak Tika.

May 8, 1998, at the Massachusetts Institute of Technology’s Kresge Auditorium, with

Gamelan Galak Tika.

November 23, 1998, at Brown University, with guest dancers Bettina Kimpton and

Miranti Kisdarjono, and members of the Boston Village Gamelan and

MIT’s Gamelan Galak Tika.

May 14, 1999, at the Massachusetts Institute of Technology’s Kresge Auditorium, with

Gamelan Galak Tika.

Directed performances of Sekar Setaman, Brown University’s Javanese Gamelan, as

follows:

Grant Recital Hall, 7 December 1999, with guest artist Sukarji Sriman, dancer.

Grant Recital Hall, 9 May 2000.

Grant Recital Hall, 5 December 2000, with guest artists Sukarji Sriman and Wakidi.

Grant Recital Hall, 18 April 2001. Javanese shadow theater (

wayang kulit) performed by

Tristuti Rachmadi Suryosaputro, accompanied by Sekar Setaman, with

guest artists B. Subono and Sri Harjutri.

Grant Recital Hall, 29 April 2003. World premiers of four compositions: three newlydiscovered

pieces by R. T. Warsodiningrat (1887-1979), and a new

composition by I. M. Harjito, inspired by tap dance.

Grant Recital Hall, 23 November 2003. Directed Sekar Setaman in a program of

traditional and modern Javanese music, featuring a collaboration with

guest artist Royal Hartigan (drum set).

Grant Recital Hall, 12 December 2004. Directed Sekar Setaman, with guest artists Lantip

Kuswala Daya (dance) and Anna Falkenau (violin).

Grant Recital Hall, 24 April 2005.

A program of traditional Javanese music and dance,

featuring a collaboration with guest artists

Wasi Bantolo and Olivia Retno

Widyastuti.

Grant Recital Hall, 10 December 2005.

A program of traditional Javanese music, with

guest artist

Katherine Bergeron.

19

Sayles Hall, 11 February 2006. (This performance was a contribution to a fund-raising

event organized by Prof. J. V. Henderson to benefit Indonesian tsunami

victims.)

Rhode Island School of Design, 18 March 2006. A program of traditional Javanese

music.

Fulton Rehearsal Hall, 10 December 2006. A program of traditional Javanese music,

with guest artist Darsono.

6. Research Grants

a. Current grants.

b. Completed grants.

Fulbright-Hays Dissertation Research Grant (United States Department of

Education), 1983.

Southeast Asia Council (Association of Asian Studies) Isolated Scholar

Research Award, 1993.

Asian Cultural Council grant in support of the project, “Documentation of

the Oral Traditions of Javanese Music,” declined; 1995.

Brown University Undergraduate Teaching and Research Assistantship

(UTRA) award in support of the research project, “Variation and

Expression in Central Javanese

Gamelan Music” (with Emily

Schiff-Glenn), 1999.

Brown University Undergraduate Teaching and Research Assistantship

award (UTRA) in support of the research project, “Variation and

Expression in Central Javanese

Gamelan Music” (with Michelle

Wong), 2000.

American Philosophical Society grant in support of the project “The

Invention of Music Notation in Java,” 2001 (declined).

National Humanities Center Fellowship (declined).

University of Texas (Austin) Harrington Faculty Fellowship (declined).

Stanford Humanities Center Fellowship, “Someone Else’s Songs: Identity,

Appropriation, and Musical Border-Crossing,” 2001-02, Principle

Investigator.

Brown University Henry Merritt Wriston Fellowship , 2001, Principle

Investigator.

Brown University Salomon Research Award in support of the project “The

Invention of Music Notation in Java,” 2000-2006, Principle

Investigator.

Mellon New Directions Fellowship for the project, “The Cultural

Imagination of Musical Ownership: Appropriation, Digital

Technology, and the Bounds of Property,” 2007-2009.

20

Awards

2005 Received the Deems Taylor Award of the American Society of

Composers, Authors, and Publishers (ASCAP) for the book

Unplayed

Melodies.

2005 Received the Lewis Lockwood Award of the American Musicological

Society for the book

Unplayed Melodies. (This Award recognizes “a

musicological book of exceptional merit published during the previous

year in any language and in any country by a scholar in the early stages of

his or her career.”)

2005

Received the Wallace Berry Award of the Society for Music Theory for

the book

Unplayed Melodies. (This Award is given for “a distinguished

book in music theory by an author of any age or career stage.”)

2005

Received the Alan Merriam Prize of the Society for Ethnomusicology for

the book

Unplayed Melodies. (This Award recognizes “the most

distinguished, published English-language monograph in the field of

ethnomusicology.”)

2009 Received a Wayland Collegium Course Development Grant (with Prof.

Jeff Titon) for the new course “Music and Cultural Policy,” to be taught

Spring 2010. $4000.

7. Service

(i) to the University

1995-date Director of Applied Music (

tabla)

1996-1999,

2000-2001,

2004-date Director of Graduate Admissions, Music Department.

1996 Sponsored lectures by Robert Walser (UCLA) and Michael P. Steinberg

(Cornell University); April 12, 1996.

21

1996 “Managing the Love of Music: The Role of Institutions in Music

Reception.” Conference convened by Marc Perlman at Brown University,

21 September. Presenters included William Weber (California State

University at Long Beach), Sanna Pederson, Scott Burnham (Princeton

University), Jeff Todd Titon (Brown University), Meabh Ni Fhuarthain

(Brown University), David Brackett (SUNY Binghamton), Fredrick

Lieberman (University of California at Santa Cruz), and Mark Slobin

(Wesleyan University).

1997 Served as member of faculty search committee, Music Department.

1997 “The Local Uses of Distant Music: Managing the Love of Music, Part 2.”

Symposium convened by Marc Perlman at Brown University, March 1,

1997. Presenters included Timothy Rice (University of California, Los

Angeles), Theodore Levin (Dartmouth College), Evan Ziporyn (MIT), and

Mirjana Lausevic (Wesleyan University). The audience consisted largely

of Brown students and faculty. Attendance at Prof. Levin’s lecture was

required for students of MU6. Prof. Rice afterwards met with graduate

students and Ethnomusicology concentrators to discuss informally issues

facing the discipline.

1997 Symposium on Musical Virtuosity, 22 November 1997; convened by Marc

Perlman. Presenters included Dana Gooley (Princeton), “Virtuosity and

the Maintenance of Musical Prestige: The Concerto in Early Orchestral

Societies,” with a response by Susan Bernstein (Comparative Literature);

Matthew Allen (University of Oklahoma), “Devotion, Improvisation,

Nation: The Birthing of a ‘Classical’ South Indian Music in the 1920s,”

with a response by Donna Wulff (Religious Studies).

1997 Lecture-demonstration of Shona

Mbira. 10 October 1997. I arranged for

the Music Department to sponsor a visit by the Zimbabwean virtuoso,

Forward Kwenda. Mr. Kwenda demonstrated traditional and modern

styles of

mbira (thumb-piano) music.

1997 Sponsored a lecture by Robert Provine (University of Durham, England):

“Authenticity in Korean Traditional Music.” October 27, 1997.

1998 Presented a Convocation address, “Gamelan: A World Music from Bali,”

with live musical illustrations performed by Banaspati, Brown’s Balinese

Gamelan Angklung. December 11, 1997.

1998 Sponsored a lecture by Deborah Wong (University of California,

Riverside): “ImprovisAsians: Free Improvisation as Asian American

Resistance.” April 2, 1998.

22

1998 Organized a lecture by Susan McClary (University of California, Los

Angeles): “Second-Hand Emotions.” Cosponsored by the Department of

Modern Culture and Media and the Pembroke Center, April 20, 1998. On

the morning before her lecture, Prof. McClary met informally with

graduate and undergraduate students, including the members of Prof.

Subotnik’s seminar on the New Musicology, to discuss their work.

1997-98 Graduate Representative, Music Department.

1998 Lecture-demonstration of Shona

Mbira. 12 November 1998. I sponsored a

visit by the senior Zimbabwean composer and performer, Tute Chigamba.

Mr. Chigamba performed, spoke on the relation of

mbira music to spirit

mediumship, and taught undergraduate and graduate students to perform

an

mbira composition.

2004 Sponsored a lecture by Dra. Maria Ulfah and Anne Rasmussen, “The Role

of the Female Koranic Reciter in Indonesia.” 15 November 1999. Cosponsored

by the Department of Comparative Literature and the Muslim

Students’s Association.

1999 Sponsored a lecture by Prof. David Huron, “Is Music an Evolutionary

Adaptation?” 16 November 1999.

2000 Led a Freshman Orientation seminar, “The Power of Popular Culture,” for

Points on the Compass: Choosing Academic Directions at Brown.

With

Mary Gluck (History). 31 August 2000.

2000 Faculty Coordinator of the Music Department Colloquium Series.

2000 Sponsored a lecture by Siva Vaidhyanathan (New York University),

“Napster and the End of Copyright.” Salomon 001. 19 November 2000.

2001 Sponsored a lecture-demonstration on traditional Burmese music and

dance by Kyaw Kyaw Naing and Maung Maung Myint Swe, 19 April

2001.

2002 Coordinated a collaboration between Burmese musician Kyaw Kyaw

Naing and the Brown University Wind Symphony for the Parent’s Day

Weekend concert, 26 October 2002.

2003 Sponsored a residency by Cosmas Magaya and Paul Berliner on the music

of Zimbabwe, 9-11 November 2003. (Co-sponsored with the Departments

of Comparative Literature and Creative Writing, and the Creative Arts

Council .) Magaya and Berliner offered a workshop in

mbira

performance, a lecture-demonstration on the oral literature of the

mbira,

and visited classes taught by Prof. Jeff Titon (Music) and Prof. Clarice

23

Laverne Thompson (Africana Studies). The residency also featured Prof.

Berliner’s performance piece, “The Heart That Remembers: A Tale of

Musicians in a Time of War,” Grant Recital Hall, 9 November 2003.

2004 Organized a conference,

Music and Identity. Smith-Buonnano Hall, 7

February 2004. Presenters: David Samuels (University of Massachusetts,

Amherst); Maureen Mahon (UCLA); Jeffrey Summit (Tufts University);

Ian Condry (MIT); Mirjana Lausevic (University of Minnesota); Joanna

Bosse (Bowdoin College).

2004 Member, Curriculum Committee, Department of Music.

2005 Board member, Cogut Humanities Institute.

2006 Chair of the Ethnomusicology Search Committee, Department of Music.

2008 Acting Director of Graduate Studies, Ethnomusicology Graduate Program.

2009- Director of Graduate Studies, Ethnomusicology Graduate Program.

2009 Organized the symposium, “Culture in an Iron Cage: Cultural

Appropriation and the Governance of Indigenous Heritage.” A lecture by

Michael F. Brown, with responses from Carol M. Rose, Jane E. Anderson,

and Kay Warren. Co-sponsored by the Department of Music, the Brown

Legal Studies Seminar, and the Public Humanities Program. 24 April

2009.

(ii) to the profession

1992-94 MC-Ethno@Eagle.Wesleyan.EDU, an electronic conference on

Ethnomusicology and Multiculturalism, convened by Marc Perlman. The

roughly ninety participants in five countries included ethnomusicologists,

musicologists, anthropologists, folklorists, composers, and scholars of

performance studies.

1992 “Ethnomusicology and Multiculturalism.” Round Table at the 1992

meeting of the Society for Ethnomusicology in Bellevue, Washington.

Convened and chaired by Marc Perlman in conjunction with the MCEthno

electronic conference. Panelists: Fredrick Lieberman, Lois

Wilcken, Ricardo Trimillos.

1995-97 Elected Member, Council of the Society for Ethnomusicology.

1997 “The Local Uses of Distant Music.” Panel convened and chaired by Marc

Perlman at the 42nd annual meeting of the Society for Ethnomusicology,

24

on Friday October 24, 1997. Panelists: Hankus Netsky, Mirjana Lausevic,

Timothy Cooley, Timothy Rice.

1995-date Reviewer for articles submitted to the journals

American Music, Asian

Music, Ethnomusicology, Musical Quarterly, Echo, American

Anthropologist,

and Cultural Anthropology.

1996-98 President, Northeast Chapter, Society for Ethnomusicology.

1999 External Member, Dissertation Committee, Department of Performance

Studies, New York University. Degree candidate: Deena Burton. Defense

date: 10 September 1999.

2000 External Member, Dissertation Committee, Department of Music,

Wesleyan University. Degree candidate: Marzanna Poplowska.

2000 External Member, Dissertation Committee, Department of Music,

Wesleyan University. Degree candidate: Andrew McGraw.

2000 Member, Copyright Subcommittee of the Popular Music Section of the

Society for Ethnomusicology.

2002 Sponsored a lecture series, “Music and Identity,” at the Stanford

Humanities Center, Stanford University. The series consisted of five

events:

30 January 2002 Maureen Mahon (Anthropology, UCLA): “This Is Not

White Boy Music: The Politics and Poetics of Black Rock.”

15 February 2002 David Samuels (Anthropology, University of

Massachusetts Amherst): “Whose Otherness? Native

Americans, Popular Music, and the Performance of

Identity.”

1 March 2002 Ian Condry (Reischauer Institute of Japanese Studies,

Harvard University): “Japanese Hip-Hop and the Cultural

Politics of Race.”

12 April 2002 Mirjana Lausevic (Music, University of Minnesota):

“Choosing a Heritage: Why Americans Sing Balkan

Tunes.”

17 April 2002 Keila Diehl (Fellow in the Humanities, Stanford

University): “Music and the Imagination of Freedom: Rock

& Roll and Hindi Film Song in the Tibetan Refugee

Soundscape.”

2003 Directed a workshop in traditional Burmese music (with Kyaw Kyaw

Naing and Alfred Aung Lwin, translator) at the Asia Society, New York

City, 14 December 2003.

25

2002-date Reviewer of book manuscripts submitted to Wesleyan University Press.

2002-date External reviewer for fellowship applications, Stanford Humanities

Center.

2004 External reader for tenure promotion cases (Ohio University, Earlham

College)

2005 Organized a panel, “Music in Cyberspace: Exploration, Ownership,

Community, and Social Protest on the Internet” at the annual meeting of

the Society for Ethnomusicology, Atlanta, 20 November 2005.

2006-date Member, Editorial Board, Musicology Series, Ashgate/University of

London School of Oriental and African Studies.

2006 Organized and chaired a panel, “The Cultural Meanings of Musical

Variability,” at the 51

st annual conference of the Society for

Ethnomusicology, Honolulu, 16-19 November 2006.

2009- Editorial Board Member,

Ethnomusicology Forum (Routledge)

2009 Organized the panel, “Traditional Music Recordings as Sites of

Contestation: Issues of Ownership and Representation,” at the annual

meetings of the Society for Ethnomusicology, Mexico City, 19-22

November 2009.

(iii) to the community.

1991 Workshop on the music and dance of Aceh and West Sumatra, sponsored

by the New York Department of Education and the Joyce Theater (New

York City).

1995-1998 Opened Banaspati, the Brown Balinese Gamelan Angklung Ensemble, to

participation by interested members of the Providence community.

2000 Performed Burmese music on

sandaya (piano) at a commemorative event

held by Amnesty International USA (Group 49, Providence) to mark the

anniversary of the arrest of U Mya Thaung, Burmese democracy activist.

29 October 2000.

2002 Performed Javanese

gamelan music for the opening of the Multinational

Gallery of the International House of Rhode Island, 27 October 2002.

26

2006 Directed Sekar Setaman, Brown’s Javanese Gamelan Ensemble, in

concerts at the Rhode Island School of Design (18 March 2006) and

Sayles Hall, Brown University (11 February 2006). The latter

performance was part of a fund-raiser for Indonesian tsunami victims.

8. Academic honors, fellowships, honorary societies.

Brown University Faculty Development Grant for summer travel to Indonesia,

1998.

Brown University Faculty Development Grant in support of publication of the

manuscript,

Unplayed Melodies: Javanese Gamelan and the Genesis of

Music Theory.

Brown University Henry Merritt Wriston Fellowship for Excellence in Teaching

(see under item 6b, above).

National Humanities Center Fellowship (declined).

University of Texas (Austin) Harrington Faculty Fellowship (declined).

Stanford Humanities Center Fellowship (see under item 6b, above).

Mellon New Directions Fellowship (see under item 6b, above).

9. Teaching (chronologically, for the past eight years)

Spring 1998 MU6 World Music Cultures (29)

Spring 1998 MU70 Balinese Gamelan Angklung (9)

Spring 1998 MU292 Special Topics (1)

Spring 1998 Ph.D. committee member, F. von Rosen

Spring 1998 Third Reader, Honors Thesis (C. Cramer)

Spring 1998 Supervisor, Honors Thesis (D. Kulash)

Fall 1998 MU126 Music in Modern Life (20)

Fall 1998 MU169 Music of Indonesia (8)

Fall 1998 MU291 Special Topics (1)

Fall 1998 MU69 Balinese Gamelan Angklung (14)

Spring 1999 MU002 Introduction to Popular Music in Society (75)

Spring 1999 MU229 Seminar in Critical Theory: Modernizing Music (5)

Spring 1999 MU192 Special Topics (1)

Spring 1999 MU291 Special Topics (1)

Spring 1999 MU70 Balinese Gamelan Angklung (9)

Fall 1999 MU126 Music and Modern Life (15)

Fall 1999 MU69 Javanese Gamelan (15)

Fall 1999 MU291 Special Topics (1)

Fall 1999 In conjunction with GISP 005, “Music, Mind, and Healing,” I sponsored a

lecture by Prof. David Huron, “Is Music an Evolutionary Adaptation?” 16

November 1999.

Spring 2000 Advisor, Ph.D. dissertation (Rebecca Miller).

Fall 2000 MU169 Music of Indonesia (13)

Fall 2000 MU126 Music in Modern Life (20)

27

Fall 2000 MU69 Javanese Gamelan (20)

Spring 2001 MU006 World Music Cultures: Asia and the Middle East (31)

Spring 2001 MU226 Seminar in Ethnomusicology: Musical Thinking (13)

Spring 2001 MU70 Javanese Gamelan (20)

Spring 2001 MU192 Special Topics (1): Ari Johnson

Spring 2001 MU292 Special Topics (1): Anne Elise Thomas

Spring 2001 MU292 Special Topics (1): Alan Williams (MA thesis)

Fall 2002 MU69 Javanese Gamelan (20)

Fall 2002 MU169 Music of Indonesia (3)

Fall 2002 MU126 Music in Modern Life (20)

Spring 2003 MU70 Javanese Gamelan (10)

Spring 2003 MU006 World Music Cultures: Asia and the Middle East (20)

Spring 2003 PY105 Music and Mind (25)

— with Prof. Laurie Heller

Spring 2003 MU292 Special Topics (1): Birgit Berg

Fall 2003 MU126 Music in Modern Life (20)

Fall 2003 MU225 Seminar in Ethnomusicology: Musical Thinking (4)

Fall 2003 MU69 Javanese Gamelan (12)

Fall 2004 MU69 Javanese Gamelan (10)

Fall 2004 MU126 Music in Modern Life (20)

Fall 2004 MU169 Music of Indonesia (10)

Spring 2005 MU226 “Music and Identity” (8)

Spring 2005 MU123/PY105 “Music and Mind” (25)

Spring 2005 MU70 “Javanese Gamelan” (8)

Fall 2005 MU225 “Modernizing Traditional Music” (10)

Fall 2005 MU126 “Music in Modern Life” (20)

Fall 2005 MU69 “Javanese Gamelan” (10)

Fall 2006 MU126 “Music in Modern Life” (20)

Fall 2006 CG105/PY105/MU123 “Music and Mind” (17)

Fall 2006 MU69 “Javanese Gamelan”

Spring 2006 MU006 “Music of Asia”

Spring 2006 MU226 “Current Directions in Ethnomusicological Thinking”

Spring 2006 MU70 “Javanese Gamelan”

N.B. These figures do not take into account the private instrumental lessons I provide to

students of MU69-70.

Frame Three : The Java Traditional Music History

Music of Indonesia
Traditional indonesian instruments04.jpg
Gongs from Java
 
Genres
 
Specific Forms
Gamelan • Angklung Beleganjur • Degung • Gambang • Gong gede • Gong kebyar • Jegog • Joged bumbung • Salendro • Selunding • Semar pegulingan
 
 

The Music of Java embraces a wide variety of styles, both traditional and contemporary, reflecting the diversity of the island and its lengthy history. Apart from traditional forms that maintain connections to musical styles many centuries old, there are also many unique styles and conventions which combine elements from many other regional influences, including those of neighbouring Asian cultures and European colonial forms.

 Gamelan

Main article: Gamelan

The gamelan orchestra, based on metallic idiophones and drums, is perhaps the form which is most readily identified as being distinctly “Javanese” by outsiders. In various forms, it is ubiquitous to Southeast Asia.

 In Java, the full gamelan also adds a bowed string instrument (the rebab, a name illustrative of Islamic influence), plucked siter, vertical flute suling and voices. The rebab is one of the main melodic instruments of the ensemble, together with the metallophone gendér; these and the kendang drums are often played by the most experienced musicians. Voices usually consist of a male chorus gerong, together with a female soloist pesindhen; however, the voices are not usually featured in court gamelan (as opposed to wayang kulit, shadow puppet theatre) and are supposed to be heard discreetly in the middle of the orchestral sound. In these abstract pieces, the words are largely secondary to the music itself.

There are two tuning systems in Javanese gamelan music, slendro (pentatonic) and pelog (heptatonic in full, but focussing on a pentatonic group). Tuning is not standard, rather each gamelan set will have a distinctive tuning. There are also distinct melodic modes (pathet) associated with each tuning system. A complete gamelan consists of two of sets of instrument, one in each tuning system. Different gamelan sets have different sonorities, and are used for different pieces of music; many are very old, and used for only one specific piece. Musical forms are defined by the rhythmic cycles. These consist of major cycles punctuated by the large gong, subdivided by smaller divisions marked by the striking of smaller gongs such as kenong, kempul and kethuk. The melodic interplay takes place within this framework (technically called “colotomic structure”).

Contemporary forms

Popular music forms that infuse Western elements and appeal to younger, mass audiences gained popularity in the 1970s and the 1980s. Examples of proponents of this type of music are Gugum Gumbira and Idjah Hadidjah

the end @ copyright Dr Iwan Suwandy 2011

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2 responses to “The Java Traditional Music Record History After WW II Era 1970(Sejarah Rekaman Musik Traditional Jawa)

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