{"title":"转型模式:Linangkit","authors":"Lee Chie Tsang Isaiah","doi":"10.5220/0008556101350147","DOIUrl":null,"url":null,"abstract":"Formed by different layers of patterning of knots with colours and shapes, Linangkit refers to one of Sabah’s traditional Indigenous forms of embroidery. This paper discusses how these patterns are being transformed into musical materials as a way to extend my compositional practice to develop ideas for pitch and rhythmic organization and formal ideas, and as the basis for my fourth collaboration with the dancer Tang Sook Kuan building on the earlier experiences with gongs described in my earlier project called Interbreathment2.","PeriodicalId":152028,"journal":{"name":"Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities","volume":"4 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Patterns of Transformation: Linangkit\",\"authors\":\"Lee Chie Tsang Isaiah\",\"doi\":\"10.5220/0008556101350147\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Formed by different layers of patterning of knots with colours and shapes, Linangkit refers to one of Sabah’s traditional Indigenous forms of embroidery. This paper discusses how these patterns are being transformed into musical materials as a way to extend my compositional practice to develop ideas for pitch and rhythmic organization and formal ideas, and as the basis for my fourth collaboration with the dancer Tang Sook Kuan building on the earlier experiences with gongs described in my earlier project called Interbreathment2.\",\"PeriodicalId\":152028,\"journal\":{\"name\":\"Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities\",\"volume\":\"4 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"1900-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5220/0008556101350147\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5220/0008556101350147","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Formed by different layers of patterning of knots with colours and shapes, Linangkit refers to one of Sabah’s traditional Indigenous forms of embroidery. This paper discusses how these patterns are being transformed into musical materials as a way to extend my compositional practice to develop ideas for pitch and rhythmic organization and formal ideas, and as the basis for my fourth collaboration with the dancer Tang Sook Kuan building on the earlier experiences with gongs described in my earlier project called Interbreathment2.