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SELAMAT DATANG KOLEKTOR INDONESIA DAN ASIAN
AT DR IWAN CYBERMUSEUM
DI MUSEUM DUNIA MAYA DR IWAN S.
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THE FIRST INDONESIAN CYBERMUSEUM
MUSEUM DUNIA MAYA PERTAMA DI INDONESIA
DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI
PENDIRI DAN PENEMU IDE
THE FOUNDER
Dr IWAN SUWANDY, MHA
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
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
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
Gumarang, Teruna Ria, dan Kumbang Tjari
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. Pada 1929, untuk pertamakalinya Dardanella mengadakan pertunjukan di Batavia. Mulanya lakon-lakon yang dimainkan adalah cerita-cerita berdasarkan film-film yang sedang ramai dibicarakan orang, seperti Robin Hood, The Mask of Zorro, The Three Musketeers, The Black Pirates, The Thief of Baghdad, Roses of Yesterday, The Sheik of Arabia, Vera, dan Graaf de Monte Christo (Ramadhan KH, 1984: 74). Namun pada kunjungan keduanya di Batavia, mereka menghadirkan cerita mengenai kehidupan di Indonesia, seperti Annie van Mendoet, Lilie van Tjikampek, dan De Roos van Tjikembang. Cerita-cerita ini disebut dengan Indische Roman, yaitu cerita-cerita yang mengambil inspirasinya dari kehidupan Indonesia, dikarang dalam bahasa Belanda (Brahim, 1968: 116).
Uitgave : Tio Tek Hong, Weltevreden (Batavia). No. 1045
Uitgave : Tio Tek Hong, Weltevreden (Batavia). No. 1046
Uitgave : Tio Tek Hong, Weltevreden, “Special Depot of Java postcards.” No. 1114. Obverse bears message to a Mr. C. Inouye, c/o Mitsui Bussan, Osaka, Japan. Postage stamp (and cancellation date) missing.
Orkes keroncong komunitas Indies di Batavia (Ilustrasi: A.Th. Manusama (1919:12a))
Driwancybermuseum's Blog 
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