Malaysian Journal of Music最新文献

Intertextual Observations of Jimmy Boyle’s Handwritten Manuscripts 吉米·波义耳手稿互文观察

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Malaysian Journal of Music Pub Date : 2020-12-16 DOI: 10.37134/MJM.VOL9.10.2020

Cheong Jan Chan, Chiou Yueh Kwan, Sze May Lee, James P. S. Boyle

引用次数: 0

Revisiting the Dusunic Boat Lutes of Sabah: Disappearing Musical Traditions 重访沙巴Dusunic船琵琶:正在消失的音乐传统

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Malaysian Journal of Music Pub Date : 2020-12-09 DOI: 10.37134/MJM.VOL9.9.2020

Jacqueline Pugh-Kitingan

引用次数: 0

Japan's Nightingale Geisha Singers: Listening to Women Through Audio Media 日本夜莺艺妓歌手:通过音频媒体倾听女性

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Malaysian Journal of Music Pub Date : 2020-11-27 DOI: 10.37134/MJM.VOL9.8.2020

Gretchen Jude

{"title":"Japan's Nightingale Geisha Singers: Listening to Women Through Audio Media","authors":"Gretchen Jude","doi":"10.37134/MJM.VOL9.8.2020","DOIUrl":"https://doi.org/10.37134/MJM.VOL9.8.2020","url":null,"abstract":"This paper examines the emergence and disappearance of Japan’s geisha kashu recording stars over the course of the 20th century, delving into their extensive body of audio recordings, which includes songs by some of Japan's most important early popular composers. Clarifying the distinction between geisha and the geisha recording stars, this paper traces the relationship between “traditional” Japanese musical forms (specifically, the complex of short shamisen songs long associated with geisha) and the popular genres that also comprised the geisha stars' repertoire. While historical audio media provide a valuable resource for scholars and fans alike, unconscious habits and unexamined discourses of listening may lead to the replication of orientalist and sexist stereotypes—and ultimately a superficial experience of the music. As a corrective to such tendencies in audience reception, this paper gives an overview of the key cultural and historical contexts of the geisha recording stars, including their contributions to the careers of several of well-respected composers. Attending to the sometimes difficult circumstances faced by geisha recording stars (and their geisha sisters) may rectify the image of these critically neglected women artists, ultimately providing a necessary counterpoint to the predominance of male musicians and male-centred musical genres in the Japanese canon.","PeriodicalId":40090,"journal":{"name":"Malaysian Journal of Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81655593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Human and Computation-based Music Representation for Gamelan Music 基于人和计算的佳美兰音乐表示

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Malaysian Journal of Music Pub Date : 2020-11-20 DOI: 10.37134/MJM.VOL9.7.2020

A. M. Syarif, A. Azhari, S. Suprapto, K. Hastuti

{"title":"Human and Computation-based Music Representation for Gamelan Music","authors":"A. M. Syarif, A. Azhari, S. Suprapto, K. Hastuti","doi":"10.37134/MJM.VOL9.7.2020","DOIUrl":"https://doi.org/10.37134/MJM.VOL9.7.2020","url":null,"abstract":"A public database containing representative data of karawitan traditional music is needed as a resource for researchers who study computer music and karawitan. To establish this database, a text-based pitch model for music representation that is both human and computer-based was first investigated. A new model of musical representation that can be read by humans and computers is proposed to support music and computer research on karawitan also known as gamelan music. The model is expected to serve as the initial effort to establish a public database of karawitan music representation data. The proposed model was inspired by Helmholtz Notation and Scientific Pitch Notation and well-established, text-based pitch representation systems. The model was developed not only for pitch number, high or low or middle pitch information (octave information), but for musical elements found in gamelan sheet music pieces that include pitch value and legato signs. The model was named Gendhing Scientific Pitch Notation (GSPN). Ghending is a Javanese word that means “song”. The GSPN model was designed to represent music by formulating musical elements from a sheet music piece. Furthermore, the model can automatically be converted to other music representation formats. In the experiment, data in the GSPN format was implemented to automatically convert sheet music to a binary code with localist representation technique.","PeriodicalId":40090,"journal":{"name":"Malaysian Journal of Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83784452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 7

Innovation and Change in Approaches to Balinese Gamelan Composition 巴厘佳美兰作曲方法的革新与改变

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Malaysian Journal of Music Pub Date : 2020-09-10 DOI: 10.37134/MJM.VOL9.4.2020

I. K. Sudirga

引用次数: 3

Assessing Practice Habits: A Study of Collegiate Instrumental Teachers’ Estimation of Students’ Practice Habits Versus Students’ Self-Report 练习习惯的评估:高校器乐教师对学生练习习惯的评估与学生自述的比较研究

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Malaysian Journal of Music Pub Date : 2020-08-26 DOI: 10.37134/10.37134/MJM.VOL9.2.2020

Chooi Wee Lau

{"title":"Assessing Practice Habits: A Study of Collegiate Instrumental Teachers’ Estimation of Students’ Practice Habits Versus Students’ Self-Report","authors":"Chooi Wee Lau","doi":"10.37134/10.37134/MJM.VOL9.2.2020","DOIUrl":"https://doi.org/10.37134/10.37134/MJM.VOL9.2.2020","url":null,"abstract":"This survey research aims to assess the collegiate instrumental teachers’ ability to estimate students’ practice habits in the practice room based on the students’ performance during the instrumental lesson and to collect collegiate instrumental teachers’ suggestions on estimating students’ practice habits in the practice room. A questionnaire in two forms was designed for 15 collegiate instrumental teachers and 30 music performance undergraduate students who were selected through a convenience sampling approach. The percent agreement (PA) and Cohen’s kappa (𝜿) were utilised to examine the inter-rater reliability between the results of both participants on the practice habits that focus on the practice time, practice sessions, goal setting, focused attention, mental practice, technique practice, metronome practice, practise with an electronic tuner, and practise with other practice strategies. The low average results, 31.50% on the percent agreement and .0437 on the Cohen’s kappa revealed that collegiate instrumental teachers cannot effectively estimate their students’ practice habits in the practice room based on the students’ performance during the instrumental lesson. However, an interesting observation was made from the suggestions given by the teachers, that is, the importance of communication of practice habits as well as observation of them in the private lesson studio. To improve, a system that teaches the key indicators of estimating students’ practice habits or a training package or method to observe students’ use of practice habits in the practice room is recommended to develop for future teachers.","PeriodicalId":40090,"journal":{"name":"Malaysian Journal of Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86551308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Exploring the Role of the Music Teacher from the Perspectives of Parents and Teachers in West Malaysia 从西马家长和教师的角度探讨音乐教师的角色

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Malaysian Journal of Music Pub Date : 2019-08-15 DOI: 10.37134/MJM.VOL8.3.2019

Kathryn Ang, C. Panebianco, Albi Odendaal

{"title":"Exploring the Role of the Music Teacher from the Perspectives of Parents and Teachers in West Malaysia","authors":"Kathryn Ang, C. Panebianco, Albi Odendaal","doi":"10.37134/MJM.VOL8.3.2019","DOIUrl":"https://doi.org/10.37134/MJM.VOL8.3.2019","url":null,"abstract":"It is important for music teachers to reflect on the influence of their role during lessons. However, the roles of teachers, and expectations from both teachers and parents are often unclear, resulting in role confusion on both sides. The purpose of this collective case study is to describe and understand the expectations of both parents and teachers of the teacher’s role in group music lessons for pre-school children in the Klang Valley1of West Malaysia. Two semi-structured interviews were conducted with ten parents and three teachers of three group music classes for pre-school children. This study situates role theory as a conceptual framework to explore the perspectives of parents and teachers on the expected roles of teachers in group music lessons. Five broad categories of themes emerged, namely parent-teacher perspectives on teachers’ roles asmulti-faceted professionals, authorities on music, entrepreneurs, mentors and communicators. A novel finding showed that teachers in West Malaysia play the role of entrepreneurs. Teachers are expected to be customer service providers, even babysitters, and are also expected to be generous with their time, which influences their entrepreneurship. The paper argues that role theory is a helpful tool in order to help teachers to understand how their roles play out in West Malaysia and how an understanding of their roles can help teachers to clarify the many expectations placed on them.","PeriodicalId":40090,"journal":{"name":"Malaysian Journal of Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76054589","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Investigating Nineteenth-Century Transcriptions through History of Opera and Music Publishing: Mauro Giuliani’s Sources for Two Themes in Le Rossiniane No. 2, Op. 120, and No. 3, Op. 121

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Malaysian Journal of Music Pub Date : 2019-08-01 DOI: 10.37134/MJM.VOL8.2.2019

F. Casagrande

{"title":"Investigating Nineteenth-Century Transcriptions through History of Opera and Music Publishing: Mauro Giuliani’s Sources for Two Themes in Le Rossiniane No. 2, Op. 120, and No. 3, Op. 121","authors":"F. Casagrande","doi":"10.37134/MJM.VOL8.2.2019","DOIUrl":"https://doi.org/10.37134/MJM.VOL8.2.2019","url":null,"abstract":"In a letter to the publisher Ricordi dated 6 February 1821, the Italian guitarist and composer Mauro Giuliani wrote that, after getting acquainted with Gioachino Rossini in Rome, Rossini lent him many autographs of his operas so that the guitarist could transcribe whatever he liked from them. From this loan were born Le Rossiniane Opp. 119–124, six potpourris for solo guitar which are considered Giuliani’s greatest musical accomplishment. Although it is likely that most of the sources of Le Rossiniane were Rossini’s originals, there is also epistolary evidence that Giuliani also transcribed themes from scores provided to him by his publishers. This fact is the point of departure from which this article explores the possible sources for two opera themes transcribed in Le Rossiniane No. 2, Op. 120, and No. 3, Op. 121. The data presented here, coming from opera and music publishing history, conveys that such themes may have been transcribed from two specific vocal scores issued by Vienna-based publishing houses – ‘Cappi and Diabelli’ and ‘Artaria’. Additionally, the exploration of the context of the opera themes at issue has also brought to light some interesting unpublished facts.","PeriodicalId":40090,"journal":{"name":"Malaysian Journal of Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77988049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3

Klong yao and the Performance of Minority Identity in the Siamese Community of Perlis, Malaysia 龙瑶与马来西亚玻里斯暹罗社区的少数族群认同表现

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Malaysian Journal of Music Pub Date : 2019-04-01 DOI: 10.37134/MJM.VOL8.1.2019

Chayuti Tassanawongwara, H. Hussin

引用次数: 4