Significant Korean art songs: 1920--2001 - @@ Home ... · Web viewIn this study, the researcher examines significant Korean art songs from 1920 to 2001. The study consists of five

Significant Korean art songs: 1920--2001by Bae, Solim, D.M.A., Arizona State University, 2007, 81 pages; AAT 3270554Abstract (Summary) In this study, the researcher examines significant Korean art songs from 1920 to 2001. The study consists of five chapters. Chapter one provides a brief overview of the music history of Korea in the late nineteenth and twentieth centuries and chronicles the development of the art song as a musical genre. The parameters of Korean music are explored in chapter two, and a comparison between Western and Korean art songs is drawn in chapter three. The study's selected Korean art songs are annotated in bibliographic form in chapter four which also includes information on the composition, English translations of the lyrics, sources of the texts, publication date, voice type and range, tempo, key and duration as well as brief analyses of the songs. The selection of songs for this study was based on the researcher's aim to demonstrate the variety of musical styles utilized in these songs. Chapter five draws conclusions regarding selected Korean composers' compositional styles and the state of research of this topic. Appendix A is comprised of biographical portraits of the study's selected composers, and Appendix B features the biographical sketches of the selected poets.

Indexing (document details)School: Arizona State UniversitySchool Location:

United States -- Arizona

Keyword(s): Korean, Art songsSource: DAI-A 68/06, Dec 2007Source type: DissertationSubjects: MusicPublication Number:

AAT 3270554

ISBN: 9780549096580Document URL:

http://proquest.umi.com/pqdweb?did=1372017911&sid=1&Fmt=2&clientId=61838&RQT=309&VName=PQD

ProQuest document ID:

1372017911

Sound of the border: Music, identity, and politics of the Korean minority nationality in the People's Republic of Chinaby Koo, Sun Hee, Ph.D., University of Hawai'i at Manoa, 2007, 230 pages; AAT 3288114Abstract (Summary) This dissertation examines the relationship between music and the construction of identity among the Korean minority nationality ( Chaoxianzu ) in the People's Republic of China (PRC). The Korean minority nationality resides predominantly in the Yanbian Korean Autonomous Prefecture, an area in northeast China that borders Russia and North Korea. Considering Yanbian as a borderland where creative and hybrid cultural forms are produced, I pay particular attention to the role of music and musicians in marking and reinforcing Chaoxianzu ethnic boundaries in post-1949 China. Since the establishment of the PRC in 1949, the central government has given minority nationalities the right to maintain and develop their own cultural practices and language. With the institution of this minority nationality policy, the Chaoxianzu have relied largely upon expressive cultures, such as music and the performing arts, to express and construct their identities. In navigating between two great social constraints, i.e., the communist ideology and the minority nationality policy, Chaoxianzu musicians transformed their ethnic music into a form unique to their diasporic community instead of presenting Korean music as it was executed in North and South Korea.

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From the 1980s to the present, the musical expression of Chaoxianzu identities has grown more diversified with the new emergence in China of global media, capitalism, cultural interactions, and labor migration movements. Given this new social and aesthetic reality, Chaoxianzu musicians continue to mediate between the expectation of presenting "ethnically correct music" and changing aesthetic dispositions among the musicians themselves and in their own communities.

Shifting socio-political contexts condition the politics of identity by bringing changes in human consciousness, social structure, and cultural practices such as music. Investigating the construction of Chaoxianzu identity by tracing musical invention over the last fifty-five years in Yanbian, I argue that cultural identity is a subjective process, and that, in creating and performing music, the individual determines the kind of identity and the means of its construction. My study asserts that Chaoxianzu music has become a discursive space in which social and cultural identities are articulated and shaped.

Indexing (document details)Advisor: Lee, Byong WonSchool: University of Hawai'i at ManoaSchool Location:

United States -- Hawaii

Keyword(s): Music, Identity, Politics, Korean, Minority nationality, China, Diaspora, Chaoxianzu

Source: DAI-A 68/11, May 2008Source type: DissertationSubjects: Music, Minority & ethnic groups, SociologyPublication Number:

AAT 3288114




1428842601

The merging of Korean traditional music and Western instrumentation as exemplified in four chamber works for piano composed by Isang Yunby Choi, Ji Sun (Emily), D.M.A., University of Miami, 2007, 103 pages; AAT 3295163Abstract (Summary) The purpose of this study is to identify and elucidate the unique aspects of Isang Yun's compositional style through in-depth examination of his piano chamber works: Gasa for Violin and Piano, Garak for Flute and Piano, Nore for Cello and Piano and Riul for Clarinet and Piano.

Isang Yun (1917-1995), a Korean-born composer, is renowned for having established a compositional language which expresses Eastern thought in music crafted from Western musical elements. He was a pioneer and leader who created new compositional techniques in his efforts to combine Western styles with Korean musical traditions. He achieved international acclaim for his highly developed compositional techniques such as Haupttontechnik (Main-tone Technique) and Hauptklangtechnik (Sound-complex Technique), which modernized and westernized ancient Korean performance practices and native Korean music traditions.

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Four chamber works for piano by Isang Yun are used to trace the development of his use of twelve-tone technique and Haupttontechnik and to identify the connection between his spiritual philosophies and his music. This essay provides these insights to give the reader a more complete understanding of the life and music of Isang Yun.

Indexing (document details)Advisor: Ying, TianSchool: University of MiamiSchool Location:

United States -- Florida

Keyword(s): Traditional music , Western instrumentation, Chamber works, Piano, Yun, Isang, Korean music , Haupttontechnik, Composition technique, German composer, Korean composer, Korea

Source: DAI-A 68/12, Jun 2008Source type: DissertationSubjects: MusicPublication Number:

AAT 3295163




1456288271

Transnational cultural traffic in northeast Asia: The "presence" of Japan in Korea's popular music cultureby Jung, Eun-Young, Ph.D., University of Pittsburgh, 2007, 329 pages; AAT 3284579Abstract (Summary) Korea's nationalistic antagonism towards Japan and "things Japanese" has mostly been a response to the colonial annexation by Japan (1910-1945). Despite their close economic relationship since 1965, their conflicting historic and political relationships and deep-seated prejudice against each other have continued. The Korean government's official ban on the direct import of Japanese cultural products existed until 1997, but various kinds of Japanese cultural products, including popular music, found their way into Korea through various legal and illegal routes and influenced contemporary Korean popular culture. Since 1998, under Korea's Open-Door Policy, legally available Japanese popular cultural products became widely consumed, especially among young Koreans fascinated by Japan's quintessentially postmodern popular culture, despite lingering resentments towards Japan. Because of the sensitive relationship between the two countries, however, the extensive transnational cultural interaction between Korea and Japan--including popular musical interaction, one of the most important aspects--has been intentionally downplayed by Korean scholars and by the popular Korean press.

My dissertation theorizes what I call the "presence" of Japan, through its popular music, in contemporary Korea. I identify three major shifts in the presence of Japan in Korea from the 1980s to 2006: the "illegal" presence (1980s-1997), the "transitional" presence (1998-2004), and the "newly sanctioned" presence (since 2004). It is my contention that popular music plays a crucial role in shaping Korean perceptions about Japan, and those perceptions define a central focus of my dissertation. The research I present in the dissertation is organized around four areas of investigation: the kinds of "presence" Japan has had in the contemporary popular music scene in Korea since the 1980s, the kinds of forces that have been instrumental in shaping Korean's

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consumption of Japanese popular music, the adjustments in Korea's cultural politics in response to transnational cultural flow from Japan before and since 1998, and Korean reception and responses to the Japanese "presence" in Korea--its meanings and implications. I address these issues within the political and economic context of Japan-Korea relations, whose impact on musical practice and musical taste is complex and dynamic, demanding a multi-disciplinary analysis.

Indexing (document details)School: University of PittsburghSchool Location:

United States -- Pennsylvania

Keyword(s): Transnational, Cultural traffic, Asia, Japan, Korea, Popular music Source: DAI-A 68/09, Mar 2008Source type: DissertationSubjects: Cultural anthropology, Music, Mass mediaPublication Number:

AAT 3284579




1407490861

Illumination: On Korean folk songsby Shin, Jackie Kyung A Shin, Mus.Doc., University of Toronto (Canada), 2006, 89 pages; AAT NR21987Abstract (Summary) Scored for Taepyungso, Kwanggwarri, Jing and symphonic band, "Illumination" on Korean folk songs was completed in the spring of 2006. It is a single movement work using thematic materials borrowed from three Korean traditional folk songs: 'Seya-Seya', 'Kyunggido A-Ri-Rang' , and 'Kangwondo A-Ri-Rang.'

As a composer who has been educated in the West as well as in Korea, I am both attracted to the technique of Western composition and Intrigued by the sounds of the traditional Korean songs that I have learned as a child. This work originated from my idea to combine Western musical grammar with the spirit of Korean traditional music in a new and fresh way that reflects recent developments in Western composition. To accomplish this, Illumination" re-contextualizes the melodic and rhythmic ideas of Korean folk music within the framework of a Western instrumental ensemble.

In Korea, traditional music can be generically divided into two major categories, which encompass all subcategories of Korean music. 'Chong-Ak' is music for the ruling class, and 'Sok-Ak' is that of the common people. I chose the three folk songs of "Illumination" from the latter category because of their beauty, simplicity, and festive spirit. Although the moods prevalent in my composition are by turns majestic, poetic, lyrical, mysterious, and festive, the work's overall spirit is nonetheless bright and energetic.

Since the folk melodies use a pentatonic scale, it is this scale that permeates "Illumination'' as a whole. The work begins with a fanfare-like introduction that is immediately followed by the main section with transitions. The three folk tunes are first introduced by a select group of instruments, after which they are restated by other groups of instruments. Thematic material is constantly developed in a canonic manner, both harmonically and structurally, and the tonal canvas is periodically interrupted by dissonant chords. In the finale, all of the musical elements come

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together and make allusions to events from previous sections. Since my intent is to depict a cheerful outcome, the bright orchestral tone colours of percussion instruments dominate throughout. Here, the familiar timbres of Western instruments such as the timpani, xylophone, vibraphone, and large cymbal are augmented by splashes of non-Western colours from the Taepyungso, Kwanggwarri, and Jing. The overall effect is a conversation between eastern and western instruments, musical textures and ideas understood by both Western and Korean ears.

Indexing (document details)School: University of Toronto (Canada)School Location:

Canada

Keyword(s): Original composition, Illumination: On Korean folk songs, Folk songs

Source: DAI-A 68/01, Jul 2007Source type: DissertationSubjects: MusicPublication Number:

AAT NR21987




1268603541

The history of music curriculum in South Korean middle schoolsby Choi, Mi-Young, Ph.D., University of Minnesota, 2006, 197 pages; AAT 3219983Abstract (Summary) Music education does not exist independently; it exists in a social context. Changes in society influence music education, and music educators should be responsive to those influences. This study provides a historical account of middle school music curriculum in Korea during the period from 1945 to 2005 by relating it to political, economic, social, cultural, and educational developments.

This study employs historical methodologies. The changes in music curricula and textbooks are chronologically documented, and the contents of music curricula and textbooks are analyzed to examine the relationship between the changes of music curricula and textbooks and the external factors such as political, economic, social, cultural, and educational influences.

The study is divided into five sections. Introduction provides need for the study, purpose of the study, research questions, methodology, limitations of the study, background of the study, review of related literature, and an organization of the remainder of the study. Presenting political, economic, social, cultural, and educational developments, the first four chapters examine the changes in the Korean middle school music curricula and textbooks within the different historical periods. Chapter I covers the immediate postwar period, 1945-1960; Chapter II the period of Chung Hee Park's regime, 1960-1979; Chapter III the period of Doo Hwan Chun government, 1980-1987; and Chapter IV the period of the current Sixth Republic, 1988-2005. Summary and implications are discussed in Chapter V.

Indexing (document details)Advisor: Hamann, Keitha Lucas

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School: University of MinnesotaSchool Location:

United States -- Minnesota

Keyword(s): Music curriculum , Korean, Middle schoolsSource: DAI-A 67/06, Dec 2006Source type: DissertationSubjects: Music education , Secondary education, Education historyPublication Number:

AAT 3219983




1176543171

Traditional Korean and Western elements in two songs by Isang Yunby Chae, Eunkyoung, D.M.A., Arizona State University, 2006, 62 pages; AAT 3241262Abstract (Summary) The purpose of this study is to show the influence of both traditional Korean and Western elements on the composition of twentieth-century Korean music through an analysis of two art songs by Isang Yun (1917-1995). Yun is regarded as one of the most significant composers of Korea, having received international recognition.

In the late nineteenth century, when Korea opened its country doors to the West, a new culture including music was introduced by American missionaries. These new sounds were very captivating and exhibited many differences between traditional Korean and Western styles. To learn the new Western compositional techniques, a number of Korean musicians studied in Japan with European-trained teachers, resulting in a unique blend of Western methods and traditional Korean elements. Yun was among the most successful of these composers. His five early songs are composed on the basis of Western techniques, while also employing the Korean elements of melody, rhythm, and accompanimental style.

In this paper, the first two songs are chosen from the five as exemplary blends of these two traditions. The remaining three songs reinforce the elements found in the opening two, but offer no new insight. Yun's incorporation of both Western compositional techniques and Korean elements are examined in this paper. The six chapters include an introduction to the study, a commentary on Korean traditional modes and rhythm, Isang Yun's biography, an analysis of his two songs, and a summary.

Indexing (document details)Advisor: Sellheim, EckartSchool: Arizona State UniversitySchool Location:


Keyword(s): Korean, Western, Songs, Yun, Isang, Twentieth century, Composers

Source: DAI-A 67/11, May 2007

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Source type: DissertationSubjects: MusicPublication Number:

AAT 3241262




1251842841

Adaptation of Dalcroze methodology to the teaching of music to kindergarten students in Koreaby Jeong, Jae-Eun, D.M.A., Boston University, 2005, 136 pages; AAT 3157381Abstract (Summary) The purpose of this study was to clarify the Dalcroze approach to music education, to investigate the present system of music education in Korean kindergarten, to find the best way to adapt Dalcroze methodology to the teaching of music to kindergarten students in Korea, and to suggest a curricular application of the Dalcroze method for teaching music in the Korean kindergarten programs.

The study examined characteristics of Dalcroze methodology, current music education in Korea, music education of kindergarten in Korea, and Dalcroze methodology in teaching music in Korea. In order to suggest actual examples, the content of the music lesson plan such as objectives, procedures, evaluation and alternative procedures is demonstrated. Lesson plans as constructed by Dalcrozian experts and a general music teacher are shown for comparing similarities and differences between them.

The conclusions of the study were as follows: (1) there are some features in pedagogical principles of the Dalcroze method which would meet the ultimate goal of contemporary music education in Korea; (2) there are insufficient numbers of qualified teachers in Korea who understand the traditional music education systems, so there is a greater need to introduce the Dalcroze method into the education process as a way of enhancing the music programs; (3) preschool music program, including kindergarten, isn't well developed yet in Korea, even though the need for such programs has been requested; (4) there is a definite need to develop age-appropriate materials focusing on music at preschool education including kindergarten; (5) development of a genuine method appropriate to Korean music education is needed; (6) efforts to develop the appropriate teaching method suitable to the characteristics of traditional music in Korea have to be made; and (7) the lack of proper facilities and equipment prevent teachers from implementing the curriculum.

Indexing (document details)Advisor: Palmer, Anthony J.School: Boston UniversitySchool Location:

United States -- Massachusetts

Keyword(s): Emile Jaques-Dalcroze, Jaques-Dalcroze, Emile, Teaching, Music, Kindergarten students, Korea

Source: DAI-A 65/12, p. 4503, Jun 2005Source type: DissertationSubjects: Music education

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Publication Number:

AAT 3157381




845779901

Development and validation study of a music therapy assessment profile for Pervasive Developmental Disorderby Kim, Kyungsuk, Ph.D., University of Minnesota, 2005, 180 pages; AAT 3167695Abstract (Summary) The purpose of this study was to determine the usefulness of a researcher-developed music therapy assessment profile for clients who are diagnosed as having Pervasive Developmental Disorders (PDDs), which is one of the largest client groups for music therapists. Based on a review of related literature, the researcher constructed a music therapy assessment profile and a questionnaire to collect data about the instrument from experts in music therapy/music education and clinical music therapists.

To establish content validity, a total of 12 experts in music therapy and music education participated in the study. For the 1 st review, three of the 12 were asked to make comments and suggestions for improvement of the researcher's original draft. For the 2 nd review, six (66.7%) returned the form including their item classification and overall comments. Of the 120 items, 91 (76%) were presented in perfect agreement between the experts while twenty nine or 24% of the 120 items were placed into different domains by the experts.

After some modifications based on the experts' review, the form and questionnaire were sent to 43 music therapists who work with PDDs; 28 were music therapists in the United States and 15 were Korean therapists. A total of 24 (55.9%), twelve from each country, returned the questionnaire. Most (97.9%) of the respondents reported that an assessment was an important process in music therapy, and 50% were behavioral approach based therapists followed by eclectic approach. The most remarkable difference between the responses was the music skill domain as one of the areas of assessment. Another issue was the practical using of assessment related to the work settings of therapists.

Concerning the MT-MAP, most of them commented positively on the thoroughness and the ability to view results graphically, while the length and unwieldiness of the form were considered weak points. The domain in most frequent disagreement was 'Music skill'. Although forty one (37.3%) items were place into different domains by the respondents, 90 items that showed dramatically high agreement were suggested by the researcher for future study and practical use of MT-MAP.

Indexing (document details)Advisor: Furman, Charles E.School: University of MinnesotaSchool Location:


Keyword(s): Music therapy assessment profile , Pervasive Developmental Disorder, Korea

Source: DAI-A 66/03, p. 932, Sep 2005Source type: DissertationSubjects: Music education , Music, Educational evaluation

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Publication Number:

AAT 3167695




888840641

Discourses of fusion and crossing: Pop culture in Korea and Japanby Lee, Jamie Shinhee, Ph.D., University of Illinois at Urbana-Champaign, 2005, 307 pages; AAT 3200183Abstract (Summary) This study investigates forms, functions, and discursive strategies in English crossing in Korean and Japanese pop culture. The corpus consists of (1) music: 752 songs (395 K-Pop songs and 357 J-pop songs); (2) 20 hours of TV shows: 12 episodes of 6 dramas, 3 shows of 1 comedy, and 5 episodes of 1 entertaining English instructional variety show; (3) 6 movies: 3 Korean movies and 3 Japanese movies; and (4) advertising: 720 Korean TV commercials and 506 Japanese TV commercials, 413 print ads, and 50 Internet accessed TV commercials.

This study argues that Expanding Circle Englishes (ECEs) in Korean and Japanese popular culture exemplify glocalized hybrid language performativity. The findings of this study suggest that English is a creative force in Korean and Japanese entertainment media and is associated with modern, young, liberal, and defiant identities. English in Korean and Japanese pop culture is localized at different linguistic levels including lexical, phonological, syntactic, morphological, and discursive features. English is often remade for domestic use in local contexts no matter how deviant it may appear to inheritors and source populations of Inner Circle Englishes (ICEs).

English crossing serves as the entry point for young Koreans and Japanese into a global economic order and is positioned as a positively valued strategy of individuals. In particular, bilingualism and linguistic versatility in the form of crossing into languages other than one's own can be viewed as empowering, insofar as it creates opportunities for Koreans and Japanese to participate in the global economy, and not as mindless capitulation to domination by the U.S.

Indexing (document details)Advisor: Kachru, Braj B.School: University of Illinois at Urbana-ChampaignSchool Location:

United States -- Illinois

Keyword(s): Fusion, Crossing, Pop culture, Korea, Japan, Expanding Circle Englishes

Source: DAI-A 66/12, Jun 2006Source type: DissertationSubjects: Linguistics, Mass media, Music, Motion pictures, MarketingPublication Number:

AAT 3200183


http://proquest.umi.com/pqdweb?did=1051243071&sid=1&Fmt=2&clientId=61838&RQT=309&VNa

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me=PQDProQuest document ID:

1051243071

Korean organ music: Fusion of East and Westby Kim, Sun-Min, D.M.A., Arizona State University, 2005, 49 pages; AAT 3194929Abstract (Summary) The history of Korean pipe organs dates back more than a century. Only seven organs were imported to Korea between the late nineteenth century and the 1950s. Most of the details of these instruments were lost because many of the organs were destroyed in the Korean War (1950--1953). Since then the pipe organ has become increasingly popular in Korea as the installation of new organs has occurred and new organ works have been composed by Korean composers. A number of pieces by Korean composers have been written for the organ since 1967. Prior to this study, relatively few of these works had been performed and discussed as a part of the standard organ repertoire.

Interviews and a review of published lists of music in print resulted in the discovery of more than thirty pieces in manuscript or published form. Five pieces were chosen as the focus of this document: Tuyaux sonores (1967) by Isang Yun; Sori Nr. 8 für Orgel (1983) by Youngjo Lee; Psalm 23 for Organ (1997) by Youngja Joo; Prelude and Fugue on an Arirang Melody (2004) by Kyuyung Chin; and Toccata and Fugue in B for Organ (2002) by Beomsuk Lee. In studying these works the author paid particular attention to musical style, including the infusion of Korean traditional elements.

This document includes a brief overview of the history of organ music in Korea, biographical sketches of each composer, and excerpts from interviews with each composer and e-mail responses to questions about their music. The author hopes that this study will cultivate awareness and interest in existing Korean organ music, broadening the organ repertoire and making Korean organ music accessible to musicians as well as to the general public.

Indexing (document details)Advisor: Marshall, KimberlySchool: Arizona State UniversitySchool Location:


Keyword(s): Korean, Organ music , Isang Yun, Youngjo Lee, Youngja Joo, Kyuyung Chin, Beomsuk Lee, Yun, Isang, Lee, Youngjo, Joo, Youngja, Chin, Kyuyung, Lee, Beomsuk

Source: DAI-A 66/11, May 2006Source type: DissertationSubjects: MusicPublication Number:

AAT 3194929




1031041401

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Othering ourselves: Identity and globalization in Korean popular music, 1992--2002by Lee, Hee-Eun, Ph.D., The University of Iowa, 2005, 182 pages; AAT 3184730Abstract (Summary) This dissertation focuses on the time period between 1992 and 2002, when Korean popular music had experienced great tensions among globalization, localization, nationalism, and political and economic deregulation. More specifically, this dissertation deals with how global and national representations in select music videos interact to articulate conceptions of national identity. By analyzing four discursive dimensions of the music videos in Korea, I make an argument that the transformation of identity is neither a simple result of globalization nor an emancipatory resistance against it.

Chapter one introduces my research questions on the relationships between music and television, and between globalization and nationalism. Chapter two draws a theoretical map of the literature on globalization, popular music and identity. Based on the literature review, chapter three commences the contextual analysis of the Korean music industry. A brief history of the Korean media industry and a discussion on the contingencies in shaping the music industry are followed to set to the concept of cultural space of music video. In chapter four, I apply a diagram of four narratives that were prevalent in Korean music videos, which represent the complexity of the relationship between globalization and nationalism. Chapter five explores exactly how the identity formation is inserted in the dynamic relationships between the past and the future, and between others and ourselves. I argue that Korean music videos do not merely signify the transition from listening to music to watching music: they embody a mediation between the global and the local. In the conclusion chapter, I attempt to put this dissertation in a wider scope of media research and studies of popular culture, with a specific consideration of the East Asian regionalism. A recent example of Hallyu , or Korean Wave, in the region, calls for a greater attention to the transnational and intra-regional flows of cultural products and people.

Indexing (document details)Advisor: Peters, John DurhamSchool: The University of IowaSchool Location:

United States -- Iowa

Keyword(s): Othering, Identity, Globalization, Korean, Popular music Source: DAI-A 66/08, p. 2763, Feb 2006Source type: DissertationSubjects: Mass media, Minority & ethnic groups, Sociology, MusicPublication Number:

AAT 3184730




982792021

Kayagum shin'gok: Composition, performance, and representation of new kayagum music in contemporary South Koreaby Kim, Hee-sun, Ph.D., University of Pittsburgh, 2004, 458 pages; AAT 3159058Abstract (Summary)

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This dissertation focuses on kayagum shin'gok , newly composed music for the kayagum , a Korean 12-stringed long board zither. The work examines the relationship between composition, performance and representation of kayagum shin'gok in contemporary South Korea. Practitioners of kayagum shin'gok have developed new musical repertoire, instruments, and techniques for this genre since the 1960s. This dissertation is the first treatise in any language on kayagum shin'gok which contextualizes the genre within the changing social and cultural conditions that have underpinned musical life in modern South Korea. This study is the first English-language dissertation written by a kayagum practitioner who has worked with the major performers and composers of this genre.

This dissertation is organized around four categories of kayagum shin'gok composition and performance. Those include kayagum as a living tradition; the boundaries of musical style in kayagum shin'gok ; kayagum shin'gok as a modern high art form; and the social matrix of kayagum shin'gok production. Musical analysis focuses on the compositional style and development of Hwang Byung-ki and Yi Sung-chun, composers who are widely recognized as the most influential composers of this genre. Theoretical issues that are examined include composers and composition in an Asian context, musical change, and the role of music in processes of identity formation.

As the kayagum represents an authentic Korean sound, the social value of this traditional instrument is highly emphasized and legitimized in South Korea. Thus the discourse of "tradition" lives with practices of kayagum in contemporary Korean culture. Modernity in kayagum shin'gok is defined as being opposed to the music of the "past." Through kayagum shin'gok , the meaning attached to kayagum music has been changed from a form of entertainment in the early 20 th

century to a symbol of the nation.

Social networks have been important in keeping kayagum shin'gok alive, and are made up of diverse layers of relationships within the cultural system of Korean music: composers and performers; teachers and students; patrons and practitioners. Social values and meanings of kayagum shin'gok are constantly being negotiated, reaffirmed, and reinforced by these social actors through the institutions that engage the music.

Indexing (document details)Advisor: Weintraub, Andrew N.School: University of PittsburghSchool Location:


Keyword(s): Kayagum Shin'gok, Hwang, Pyong-gi, Pyong-gi Hwang, Song-ch'on Yi, Yi, Song-chòn, Composition, Performance, Music, Korea

Source: DAI-A 65/12, p. 4393, Jun 2005Source type: DissertationSubjects: Music, Social structure, Cultural anthropologyPublication Number:

AAT 3159058




845718461

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Promoting comprehensive musicianship in keyboard harmony classes: Suggestions for university piano instructors of non-keyboard music majors in Koreaby Jung, EunSuk, D.M.A., West Virginia University, 2004, 91 pages; AAT 3152266Abstract (Summary) Piano instruction forms an important part of the music curricula at colleges and universities in Korea. While the content and format of piano classes vary among different institutions, many Korean colleges and universities offer specialized piano courses that focus either on performance as a minor instrument or on one specific functional keyboard skill such as harmonization, accompanying, or sight reading. Such courses allow students to master specific skills more thoroughly, but may not promote the development of a wider scope of keyboard skills and abilities. The purpose of this study is to suggest a more standardized approach to class piano instruction and modifications to Korean class piano curricula that widen the focus of the course content, without sacrificing the development of the specialized keyboard skill that forms the core of the class.

Specifically, this study has four main goals: (1) to describe current curricula of selected college and university piano classes for non-piano music majors in Korea and in the United States, (2) to summarize the views of selected class piano teachers in both countries regarding curricula most relevant to the needs of future non-keyboard music professionals, (3) to analyze the strengths of some Korean and American curricula based on the development of knowledge and skills most relevant to the needs of future non-keyboard music professionals, and (4) to suggest possible modifications for those Korean piano classes that focus on keyboard harmony, based on the views of class piano teachers and on the strengths of curricula in both countries.

This study discusses class piano teaching and curriculum in Korean colleges and universities as follows: Chapter I provides an introduction to the topic, and discusses the purpose of the study, the need for the study, the limitations of the study and relevant terms. Chapter II reviews dissertations related to class piano programs in the United Sates and in Korea. Chapter III summarizes information about Korean class piano programs gained from examinations of Korean college websites and correspondence or interviews with some Korean piano faculty members. Chapter IV suggests possible modifications for first and second-year Korean piano classes that focus on keyboard harmony, based on recommendations from the dissertations reviewed in Chapter II, on the existing strengths and weaknesses in the curricula outlined in Chapter III, and on the goal of developing knowledge and skills most relevant to the needs of future non-keyboard music professionals. Chapter V summarizes the study, offers conclusions, and suggests avenues for future research.

Indexing (document details)School: West Virginia UniversitySchool Location:

United States -- West Virginia

Keyword(s): Comprehensive musicianship, Keyboard harmony classes, University, Piano instructors, Music majors , Korea

Source: DAI-A 65/11, p. 4041, May 2005Source type: DissertationSubjects: Music, Music education Publication Number:

AAT 3152266



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828402111

A study of Korean art songs since 1900: Focusing on pieces by Dong-Jin Kim, Heung-Yeol Lee, and Isang Yunby Kim, Kang Mi, D.M.A., University of Washington, 2003, 149 pages; AAT 3079230Abstract (Summary) This dissertation provides information regarding the historical background and performance practice of Korean art songs, including the rules of Korean diction. It is clear that traditional Korean songs and Western-style Korean art songs are different. Here, the phrase "Korean art song" should be taken to mean modern art songs, rather than traditional. A primary purpose of this dissertation is to define the Modern Korean Art Song through research into the relevant literary and historical antecedents.

Moreover, as a professional singer, one needs to pay careful attention to diction when singing in a language other than one's own. Many languages, such as Italian, German, French, English, and Spanish, have already been analyzed in terms of the International Phonetic Alphabet for the use of professional singers. In the course of this study such an analysis will be extended to Korean.

Even though Korean singers frequently perform Korean art songs, not only in Korea but also abroad, research on the modern Korean art song is relatively rare because Western-trained Korean singers are more focused on the analysis of art songs in the major Western languages. This study will allow me to introduce a selection of Korean art songs to a wider public. As a soprano I've concentrated on three composers, Dong-Jin Kim, Heung-Yeol Lee and Isang Yun, because their songs are especially important in the soprano repertoire.

These days it is often possible to hear Western singers sing Korean songs beautifully onstage in Korea. This study is intended not only for Korean singers, but also for Western professionals. I hope that if non-Korean singers should choose to sing in Korean, my research will make it easier for them to get the information and understanding they need.

Indexing (document details)Advisor: Patrick, JulianSchool: University of WashingtonSchool Location:

United States -- Washington

Keyword(s): Korean, Art songs, Kim, Dong-Jin, Lee, Heung-Yeol, Yun, IsangSource: DAI-A 64/02, p. 330, Aug 2003Source type: DissertationSubjects: MusicPublication Number:

AAT 3079230

Document URL:



765243291

Twentieth-century discourses on Korean music in Koreaby Kim, Jin-Woo, Ph.D., University of Michigan, 2002, 249 pages; AAT 3057986Abstract (Summary)

14

The colonial period represents a complex situation in which Korean music performances were transformed to fit changing social conditions. Moreover, it was a period when Koreans began to perceive certain musical genres as vehicles to express Koreanness. In the second half of the twentieth century, Korean people and the modern Korean state used traditional and neotraditional music to articulate their political and cultural concerns. After the Liberation (1945), when a new Korean nation-state was being built, Korean music was used as a tool to unite the Korean people by heightening their cultural identity and asserting national identity to the world. The government embraced both cho ngak [court music and the music of the literati] and minsogak [folk music] as Korean music. In addition to preserving traditional music, the government encouraged the creation of neotraditional music, which expressed Korean modernity blended with tradition.

During Park Chung Hee's reign (1961-79), both the government and university students used Korean music for explicitly political goals. Park promoted traditional court music to legitimize his power, seized through a coup d'état, and, in an attempt to associate himself with the populace, supported minsogak . His strategy motivated university students to stage politically oppositional folk performances, such as t'alch'um [mask-dance drama] and p'ungmul [farmers' band music] for their Cultural Movement, launched to challenge the authoritarian Park regime and the surge of Western popular culture. By the late 1970s, the students had kindled an internet in Korean music among the general public. In the 1980s and the 1990s, Korean music and dance performances began to be offered on a regular basis by the National Center and Chongdong Theater. The mission of these performances is twofold: to teach Koreans their cultural heritage, and to provide foreigners with opportunities to experience Korean culture.

This study originates in the author's questions about the meanings of current government-sponsored performances of Korean music and dance. The data were collected through fieldwork in Seoul (1999-2000), interviews with organizers, performers, and audience members, and both on and off the internet surveys. Other resources for the study include newspaper articles, monographs, journal articles, and program pamphlets.

Indexing (document details)Advisor: Lam, Joseph S. C.School: University of MichiganSchool Location:

United States -- Michigan

Keyword(s): Twentieth century, Discourses, KoreaSource: DAI-A 63/07, p. 2409, Jan 2003Source type: DissertationSubjects: MusicPublication Number:

AAT 3057986




764686911

American general music textbooks: Content usable in Koreaby Kim, Youngmee, D.M.A., Temple University, 2001, 206 pages; AAT 3014452Abstract (Summary) The purpose of the study is to identify ways to improve the Korean music textbook for grades one and two by using the American music textbook series--Share the Music and The Music

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Connection --as models. First, the researcher analyzed the Korean music textbook and two American music textbook series for grades one and two. The researcher examined the following aspects of the Korean music textbooks and American music textbook series for grades one and two; (1) genre of music, (2) characteristics of the music, (3) musical concepts, (4) activities or movements recommended, and (5) curriculum integration.

Results of the analyses of both Korean and American music textbooks are shown in two types of tables--music content and curriculum integration. The researcher interviewed Korean elementary school teachers to ask their opinions of Joyful Life --the Korean official general music textbooks and the usefulness of content from the two American textbook series. Then the researcher introduced a table to compare the general characteristics of Korean and American music textbooks as the conclusion.

The researcher suggested recommendations from the results of the interview with Korean teachers to improve curriculum integration and music textbooks used in Korean elementary schools, using American music textbook series as models. Even though the curriculum integration of Korean music textbooks is different from American music textbook series, the interviewees found positive content from the analysis tables.

The recommendations are as follows: (1) Increase the number of music materials; (2) Increase use of songs in minor and other tonalities, and songs in various meters other than duple or triple meters; (3) Have children experiment with a variety of sound; (4) Clarify and specify teaching methods for teachers; (5) Clarify the origin of songs or melodies; (6) Introduce more music from various cultures; (7) Increase listening activities; (8) Increase the number of class meetings for music; and (9) Provide a musical environment.

Indexing (document details)Advisor: Walters, Darrel D.School: Temple UniversitySchool Location:


Keyword(s): Curriculum integration, Music textbooks , KoreaSource: DAI-A 62/05, p. 1767, Nov 2001Source type: DissertationSubjects: Music education , Elementary educationPublication Number:

AAT 3014452




728931011

The development of Korean choral musicby Min, In -Gi , D.M.A., University of Southern California, 2001, 64 pages; AAT 3054783Abstract (Summary) This study is among the first in-depth examinations of choral music in Korea. Covering the period since the introduction of Western music into Korea to the present, it reviews the relatively short history of Korean choral music, examines trends in both performance and composition, and predicts future developments.

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The introduction of Christianity into Korea in the late 1800's stimulated the developments of Korea's choral music tradition; Christianity remains a strong but not the only influence on Korean choral music. The last half of the 20 th century in particular has seen remarkable growth in the quantity, quality, and diversity of choral music performance.

This study introduces leading Korean choral conductors as well as the nation's major choirs/choruses and reviews choral music education and choral music movements in Korea. Choral singing in Korea may be classified into three main categories. The qualitative leaders are the professional choirs, which are fully funded, from the choristers' salaries to operating costs. Secondly, Christian music groups, formed for the purposes of both in-church worship and missionary activities, are a major part of choral music performance in Korea. Finally, amateur choirs have grown consistently in number since the 1980's.

In conclusion, the study suggests that choral music in Korea will soon make a transition from a "consumptive" mode (introduction of Western choral music and its performance) to a "creative" mode (composition of new Korean choral music and its performance).

Indexing (document details)Advisor: Dehning, WilliamSchool: University of Southern CaliforniaSchool Location:

United States -- California

Keyword(s): Korean, Choral, ChristianSource: DAI-A 63/05, p. 1621, Nov 2002Source type: DissertationSubjects: Music, HistoryPublication Number:

AAT 3054783




726355331

The incorporation of technology into music education in Korea: A mixed method studyby Rhee, Esther, Ph.D., Kent State University, 2001, 198 pages; AAT 3034430Abstract (Summary) This study explored how music technology is used within the Korean educational system. Many music programs in Korea have adopted technology into their curricula, but there is little research about the degree to which technology is used in the Korean educational system for music instruction and how highly it is valued as a pedagogical tool.

The purpose of this study was to utilize quantitative and qualitative methods to explore five research questions: (1) What are the advantages of using music technology, (2) What are the different types of technological equipment at the various levels of education, (3) What are the possible pedagogical applications of music technology, (4) How familiar is the educator with using music technology, and (5) How adequately is funding allocated for music technology?

Half of the 1,000 members of the Korean Music Educators Society (KMES) were asked to participate by survey and interview in this study, gathering informational data based on the five

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research questions. A majority of the KMES members are music educators, (with fewer consisting of graduate students of music), representing a wide range of levels, from kindergarten through college. This range in education levels is helpful in assessing the extent to which technology is used at various stages by educators.

The major findings were as follows. Educators: (1) recognized the advantages of incorporating music technology into the educational life of the student from kindergarten through college, (2) reported uses of technological equipment at the various levels of education, (3) reported their pedagogical uses of music technology, (4) recognized their lack of skills and experience, spurring a need for further education, and (5) recognized the scarcity of funding and lack of support at the government level as major barriers to the acquisition of technology. They also saw that the benefits of implementation far surpassed any possible difficulties encountered in acquisition and maintenance.

Implications for resolving some of the issues raised by participants include: (1) petitioning the government for adequate funding and fostering an improved philosophy on the fine arts in Korea, (2) the acquisition of technology, and (3) the training of educators in the use and application of technology in the Korean classroom.

Indexing (document details)Advisor: Kuhn, TerrySchool: Kent State UniversitySchool Location:

United States -- Ohio

Keyword(s): Technology, Music education , KoreaSource: DAI-A 62/11, p. 3620, May 2002Source type: DissertationSubjects: Music, Music education , Educational softwarePublication Number:

AAT 3034430




726084141

Western art music in Korea: Everyday experience and cultural critiqueby Hwang, Okon, Ph.D., Wesleyan University, 2001, 333 pages; AAT 3005641Abstract (Summary) Although Western art music was introduced to Korea only about a hundred years ago, it has become a dominating cultural force in the country. This dissertation examines its presence in Korea from two different angles: everyday experience (a worm's eye view) and cultural critique (a bird's eye view).

The main part of this dissertation comprises five chapters. The first chapter is concerned with historical perspectives; it presents a diachronic study of the history of Western art music in Korea by dividing it into three periods, leading to the present. The second chapter features detailed accounts of two contrasting youngsters: a typical elementary school girl who incorporates music lessons as a part of her daily activities, and a budding musician who intends to pursue music in a serious manner. The third chapter provides portraits of two music professionals: a music teacher in a neighborhood academy, who represents the most common career choice with minimum

18

academic credentials; and an elite musician. Combined, the second and the third chapters go into the minute details of everyday life in order to present a synchronic study of contemporary lives involved in Western art music making.

If the second and the third chapters represent the 'doing' and 'performing' of Western art music in Korea in a day-to-day context, the remaining chapters deal with the 'thinking' and 'theorizing' about its place in the Korean culturescape. The fourth chapter deals with the question, "why did Western art music become so successfully disseminated in Korea?" Inspired by a hypothesis developed in economics that explores the influence of Confucianism, this study will compare characteristics of Western art music and Confucianism to see how a pre-existing condition of an indigenous country may partially be responsible for the successful grafting of a new culture. The fifth chapter deals with intellectual discourses among Korean intellectuals on the dominating presence of Western art music in Korea. The dissertation concludes with my own vision, which locates the cultural ownership of Western art music in the Korean context.

Indexing (document details)Advisor: Zheng, SuSchool: Wesleyan UniversitySchool Location:

United States -- Connecticut

Keyword(s): Western music , Art music , Korea, Everyday experience, Cultural critique, Ethnomusicology

Source: DAI-A 62/02, p. 381, Aug 2001Source type: DissertationSubjects: MusicPublication Number:

AAT 3005641




728473901

Kindergarten teachers' attitudes, knowledge, and perceptions on the role of music activity in language development in Pusan, Koreaby Lee, Minjung, Ph.D., The Pennsylvania State University, 2000, 237 pages; AAT 9966846Abstract (Summary) The purpose of this study was to examine kindergarten teachers' attitudes, knowledge, and perceptions on the role of music activity in language development.

This study employed the dominant-less dominant design, using survey and videotape recording. For the quantitative part of this study, the participants consisted of 322 kindergarten teachers from 63 kindergarten classrooms in six regional school districts of Pusan Metropolitan City, Korea. Criterion sampling was used to select the participants for the qualitative videotape recordings.

Three instruments were designed to examine kindergarten teachers' attitudes, knowledge, and perceptions on the role of music activity in language development. These instruments were: (1) Demographic Questionnaire (DQ), (2) Music and Language Development Questionnaire (MLDQ), and (3) Video Data Analysis Checklist.

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In brief, the results of quantitative data analyses are: (1) the majority of the teachers appeared to be confident in using music activities related to language development, (2) with regard to the need for using music activities, the vast majority of teachers wanted to integrate music activities into language development and to spend time improving music knowledge and skills, (3) teachers perceived that the obstacles of music and music teaching is the lack of technical training in music rather than unfortunate music experiences created when they were in the classrooms, (4) teachers perceived their knowledge and desires most important assets in teaching music activities related to language development, (5) the total knowledge scores of music content, music method, and music teaching significantly differed among the groups when examined by the total years of teaching. Significant differences also existed in the summated teacher knowledge scores of music teaching with regard to the number of current music activities taken, and (6) the level of personal interest was the most significant predictor in determining teachers' attitudes on the role of music activity in language development. The results of qualitative video data analyses are: (1) across all sessions, singing was most frequently used with movement activity comprising the next most frequently occurring music activity, (2) the teacher in a poor music session tended to measure what children actually learned from her teaching rather than focus what children are interested in and invite children to interact with her, and (3) the teacher in good music session appeared to have sufficient repertoire of teaching skills and techniques.

Indexing (document details)Advisor: Yawkey, Thomas D.School: The Pennsylvania State UniversitySchool Location:


Keyword(s): Kindergarten, Teachers, Music, Language development, Pusan, Korea

Source: DAI-A 61/04, p. 1285, Oct 2000Source type: DissertationSubjects: Preschool education, Language arts, Music education Publication Number:

AAT 9966846




731925171

Ritual music of Hanyang kut by spirit-possessed shamans in Koreaby Seo, Maria Kongju, Ph.D., University of Washington, 2000, 449 pages; AAT 9976097Abstract (Summary) As an ethnomusicologist, I explore the ritual music of musok performed by kangshinmu (spirit-possessed shamans) in Seoul, Korea. Musok, the indigenous religion of Korea, advocates the harmony of the universe created by the balance of samjae --heaven, earth, and humans. Musok interprets an imbalance of samjae as the cause of illness, misfortune, or difficulty in life. When the balance is disturbed, the indigenous Korean way of restoring universal harmony is through a kut (ritual) in which music plays an essential part. Kut is a large-scale propitiatory ritual led by musicians or mudang (ritual specialists).

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Considering musok in view of the "classic" shamanism of Inner Asia, I present the similarities and differences based on my observations of kut in Seoul during nine years of fieldwork, distinguishing between sesûpmu (hereditary mudang ) and kangshinmu (spirit-possessed mudang ). I will explain how men and women are involved in musok as clients, ritual specialists, and ritual musicians and discuss how musok is viewed and practiced in contemporary Korea.

Among the many rituals performed in present-day Seoul, I chose to study Hanyang kut, the rituals originating from Seoul area, as opposed to kut from other regions of Korea, which are now also being performed in Seoul. Hanyang is a former name of Seoul and refers to the capital of the Chosôn Dynasty (1932-1910). All kut in Korea have distinctive ways of presenting rituals reflecting the aesthetics enjoyed by the people of the given regional areas. The differences may be noted, for example, in food offerings, costumes, songs, dances, and instrumental music in their rituals.

The Hanyang kut handed down orally for generations incorporate ritual techniques and music reflecting the customs of the Chosôn Dynasty. For example, songs like Noraekarak and instrumental music like Chajin Hwanip borrow heavily from chôngak, the court and upper class ( yangban ) genre of music. In this work, I will discuss musical instruments, music repertoires, musicians and ensembles, and changes in musical performance practices in the Hanyang kut, by presenting two Hanyang kut -- ch'ônshin kut and Seoul saenam kut, rituals held for the living and the departed, respectively.*

*The dissertation includes a music CD.

Indexing (document details)Advisor: Ellingson, TerSchool: University of WashingtonSchool Location:


Keyword(s): Ritual music , Spirit-possessed, Shamans, Korea, Hanyang kutSource: DAI-A 61/09, p. 3411, Mar 2001Source type: DissertationSubjects: Religion, Cultural anthropology, MusicPublication Number:

AAT 9976097




727760921

Transmission processes in Korean traditional music: Contemporary musical practice and national identityby Paek, Inok, Ph.D., Queen's University of Belfast (United Kingdom), 1999, 376 pages; AAT C800681Abstract (Summary) This study concerned with the transmission processes in Korean traditional music, kugak, in its modern context. The emergence of two recent categories of music during the late nineteenth century, kugak (national music or traditional music) and yangak (Western music), was a direct outcome of the introduction of Western music into Korea. In the latter half of this century, however, the widespread respect for Western music held by the Korean intelligentsia has given way to a reexamination of the state of traditional music in Korean society.

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Nationalism and the cultural policies of the Korean government have played a significant role in this change of attitude to traditional culture and music. Three decades of effort in promoting Korean music have helped to raise the public's understanding of their music and musicians, and have led them to create their cultural identity. However, the newly formalised transmission methods impose limitations on improvisation and variation.

Through Seoul-based case studies I discuss how the educational and cultural institutes, the programme organisers and the participants have all contributed to the process of regenerating the traditional culture, thus providing the reader with a picture of the whole network through which traditional music is being taught, learned, presented, and disseminated. The distinction between professional and amateur musicians is also discussed and an analysis is presented to illustrate the way musicality is expressed, as well as the relationship between different instruments and the gender/social standing of the players.

Coupled with the economically stabilized and politically liberated situation in Korea during this period, an active reexamination of music culture took place. The performance traditions of kugak have inevitably changed in response to encompassing social and cultural movements. Their form of identity and their status are often matters of who claims them, under which conditions, and for what purposes. Whilst the importance of a sense of tradition has been recognised at all levels, the ways traditions are realised and mounted in performance all differ. The internal factors, such as social institutions, the system of patronage, recruitment and training of musicians and the role of mediator, as well as the external factors, such as Westernisation and modernisation and the interacting cyclic ring of nationalism and internationalism have all played a great part in influencing and shaping the evolution of kugak in modern Korea.

Indexing (document details)School: Queen's University of Belfast (United Kingdom)School Location: Northern IrelandKeyword(s): Transmission, Korean, Traditional music , Musical

practice, National identitySource: DAI-C 61/01, p. 17, Spring 2000Source type: DissertationSubjects: Music education , MusicPublication Number: AAT C800681Document URL: http://proquest.umi.com/pqdweb?did=729732481&sidProQuest document ID: 729732481

Undergraduate piano pedagogy course offerings in selected colleges and universities in the Republic of Koreaby Won, Kanghee Kim, D.M.A., The University of Oklahoma, 1999, 180 pages; AAT 9930845Abstract (Summary) The purpose of this study was to identify the content of undergraduate piano pedagogy courses at selected colleges and universities in the Republic of Korea. The study was conducted through a questionnaire that was sent to the fifty-one colleges and universities in Korea offering piano as a major as listed in the Hanguk Hakgyo Myungram 1996-97, Hanguk Gyoyuk Yongam 1998 , and Hanguk Gyoyuk Myungbu 1998 . The study was designed to gather information on the institutions, piano pedagogy course structure, materials used in the courses, projects required, course contents, and observation and student teaching experiences.

Institutions offering an undergraduate piano pedagogy course were asked to answer questions regarding the course content. The questions cover the teaching strategies for various levels of students, teaching techniques for various topics, categories of teaching literature and methods,

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special content areas, selected teaching aids, specific course projects, and professional relationships.

Observation and teaching experiences in the piano pedagogy course were included in the study. Student requirements for teacher observation, the type of teaching used for observation, and the formats used in the evaluation of student teachers were all investigated. The specific levels of students and classification of student teaching assignments and available settings both for observation of teaching and for student teaching were also investigated.

Recommendations for improvement of Korean piano pedagogy courses were made in the following areas: enrollment limits in piano pedagogy courses, piano labs, preparatory departments and affiliated programs, Korean pedagogy textbooks, printed materials and piano pedagogy libraries/resource centers, pedagogy course content, professional relationships, observation and teaching experience, and administration of the pedagogy courses.

Indexing (document details)Advisor: Magrath, Jane, Gates, EdwardSchool: The University of OklahomaSchool Location:

United States -- Oklahoma

Keyword(s): Colleges, Korea, Pedagogy, Piano, Undergraduate, Universities, Course offerings

Source: DAI-A 60/05, p. 1495, Nov 1999Source type: DissertationSubjects: Music education , Higher educationPublication Number:

AAT 9930845




733468561

Traditional Korean children's songs: Collection, analysis, and applicationby Kim, Young-Youn, Ph.D., University of Washington, 1998, 168 pages; AAT 9826340Abstract (Summary) Music has been a part of Korean school curriculum for grades kindergarten through twelve since the final years of the nineteenth century. However, traditional Korean children's songs--those extant prior to pervasive Westernization of Korea--are neither part of teachers' nor children's learning experiences.

The purpose of this study was (a) to collect unknown and quickly disappearing traditional Korean children's songs, as remembered by elderly Koreans who were children in the 1920s and 1930s; (b) to analyze the collected songs from musical and textual perspectives to determine instances and patterns of Korean musical and cultural expressions; and (c) to suggest a curricular application of the collected songs in the preschool setting by age, Korean Ministry of Education theme, classroom use (e.g., singing or rhythmic development, dance, games).

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Central to this study are traditional Korean children songs from fourteen elderly Korean women, ages 68 to 91, who grew up in various regions throughout Korea in the first third of the century. Thirty-one out of forty-five collected, deemed Korean (rather than Japanese or Western in origin), were analyzed for their musical (time- and pitch-related as well as formal) and textual (source, setting, and topical) characteristics. These songs are believed to have been acquired by the informants between the early 1910s and the early 1930s, the period before the influence of Western music became pervasive in Korea.

Recommendations were made for the use of the thirty-one songs in the preschool setting, grouped according to age level, applicability for preschool subject units (as suggested by the Korean Ministry of Education (1995)), and according to their potential to activate children's expressive activities. Finally, the researcher suggested enrichment possibilities, including such musical activities as performing on percussion instruments, guided listening, and creating, and such nonmusical activities as drawing or dramatic play.

Indexing (document details)Advisor: Campbell, Patricia ShehanSchool: University of WashingtonSchool Location:


Keyword(s): curriculumSource: DAI-A 59/03, p. 764, Sep 1998Source type: DissertationSubjects: Music education , Preschool education, Curricula, TeachingPublication Number:

AAT 9826340




737017761

An historical and theological critique of worship in the Presbyterian Church of Korea (Ko-Sin) in the context of its Directory for Worship, 1992by Han, Jin Hwan, Th.D., Boston University School of Theology, 1997, 283 pages; AAT 9807216Abstract (Summary) The present study is devoted to an examination of worship as defined by the 1992 Directory for Worship of the Presbyterian Church of Korea (Ko-Sin). The primary objectives of the study are (1) to make a critical analysis of the theology and practice of worship as ordered by the Directory from the perspective of a Reformed (Calvinist) understanding of worship and (2) to make constructive suggestions with a view to contemporary liturgical renewal.

This study analyzes the major problems of Korean Presbyterian worship as follows. First, worship is presently understood as an upward movement from humanity to God, without a due awareness of the divine initiative. Second, sacraments are regarded as reminders, not "means", of grace.

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Third, the communal character of corporate worship is very limited. Fourth, the use of scripture in worship is quite insufficient from a Reformed theological perspective.

These problems are traced to certain historical roots, which have played an important role in shaping current worship: (1) the influence of very "nonliturgical" ("free") worship from the beginning; (2) the influence of an evangelistic preoccupation in the Korean Church; (3) the early missionaries' rather experimental liturgical programs of adaptation; and (4) the influence of traditional religions and culture.

A major effort undertaken here is to propose reforms in current worship as defined by the Directory, on the basis of a theological and historical summary of the Reformed tradition. Thus, the Sunday service of worship needs to be re-shaped into a Word-Sacrament structure whether or not the Supper is celebrated each Lord's Day. The use of a comprehensive lectionary is suggested in order to shape the reading and preaching of the scriptures to be inclusive every Lord's Day of readings from both Old and New Testaments. The Psalter needs to be recovered as the main body of congregational song. The Korean Church needs to take into its worship the two annual cycles of festivals around Christmas and Easter (Pascha) so that the Christ-event can again be placed at the center of its liturgical celebration.

Finally, this study takes into account the necessity of incorporating into this sort of Reformed worship Korean cultural traditions, festivals, music, symbolism, and vestments.

Indexing (document details)Advisor: Allen, Horace T., Jr.School: Boston University School of TheologySchool Location: United States -- MassachusettsKeyword(s): KoreaSource: DAI-A 58/08, p. 3174, Feb 1998Source type: DissertationSubjects: Clergy, TheologyPublication Number: AAT 9807216ISBN: 9780591574715Document URL: http://proquest.umi.com/pqdweb?did=736615091&sid=1&

ProQuest document ID: 736615091

The Haegum: The vanishing violin of Koreaby Suh, Kayla Haiju, D.M.A., University of Miami, 1995, 90 pages; AAT 9536858Abstract (Summary) The Haegum is a two-string Korean fiddle. The neck passes through a tubular resonator of bamboo, and a horsehair bow passes between the two twisted silk strings. Despite the fact that it is constructed like a string instrument, the Haegum is considered a wind instrument in Korea, because of its sustaining qualities which set it apart from Western string instruments.

In this author's opinion, the study of the Haegum has not been given proper attention so far, resulting in a dearth of recordings and written information. Hopefully this essay will contribute as a partial effort to trigger the interest of the composers who are equipped with Western musical techniques to learn more about the vanishing violin of Korea.

Indexing (document details)

25

Advisor: Moore, ThomasSchool: University of MiamiSchool Location:


Source: DAI-A 56/07, p. 2480, Jan 1996Source type: DissertationSubjects: MusicPublication Number:

AAT 9536858

Document URL:



740885781

Musicians' and non-musicians' preferences for world musics: Relation to musical characteristics and familiarityby Fung, Chi-Keung Victor, Ph.D., Indiana University, 1994, 187 pages; AAT 9500429Abstract (Summary) The purpose of this study was to investigate the relationships among musical characteristics and musicians' and non-musicians' preferences for world musics. World musics were drawn from Africa (Congo, Malawi, and Nigeria), Asia (China, Japan, and Korea), and Latin-America (Cuba, Mexico, and Peru). Musical characteristics included tempo, pitch redundancy, tonal centeredness, consonance, brightness in timbre, percussiveness, loudness, textural complexity, and richness in embellishment. Preference was also examined in relation to familiarity.

Doctoral music students (N = 24) served as judges to determine ratings of musical characteristics. The Musical Characteristics Rating Form (MCRF) was used to determine the nine musical characteristics. Inter-judge reliability for each musical characteristic ranged from.82 to.94.

Subjects were 449 undergraduate students (180 music majors and 269 non-music majors). The World Music Preference Rating Scale (WMPRS) was used to collect data for preference, familiarity, and demographics. Reliability coefficients ranged from.86 to.96. Subjects completed the WMPRS that included a total of 36 instrumental excerpts from nine countries. The 24 musical judges rated the same excerpts for musical characteristics.

Results showed that all nine musical characteristics were significant sources of variance in world music preferences. The following musical characteristics were preferred by both musicians and non-musicians: fast tempo, loud, tonal centered, having many different pitches, consonant, moderately embellished, smooth sounding, and bright timbre. Musicians preferred excerpts with complex texture while non-musicians preferred moderately complex texture. Results also showed that non-musicians generally had greater preference mean changes as the levels of musical characteristics changed except for changes in the richness in embellishment. A positive relationship between familiarity and preference was found across all nine country styles, all three regional styles (African, Asian, and Latin-American), and for the composite of all styles. Musical training played an important role in music preference ratings. In general, musicians had significantly higher preference means than did non-musicians. Subjects preferred musics from geographic regions closest to the United States (Latin-America), followed by musics from Africa and Asia. Results indicated that two factors underlay subjects' preferences for musics from the nine countries: pitch and rhythm.

Indexing (document details)Advisor: Schmidt, Charles P.

26

School: Indiana UniversitySchool Location:

United States -- Indiana

Source: DAI-A 55/08, p. 2314, Feb 1995Source type: DissertationSubjects: Music education , Music, Social psychologyPublication Number:

AAT 9500429

Document URL:



740972991

The historical development of the Korean art song (1904-present)by Lee, Hye Yun, D.M.A., The University of Texas at Austin, 1993, 172 pages; AAT 9400835

Abstract (Summary) Western music along with other forms of Western culture was first introduced into Korea about 1885 by American missionaries. In the late nineteenth century missionaries flocked to the Korean peninsula establishing schools and for the first time in Korean educational history, time slots within the curriculum were allotted specifically for music education. Initially, instead of music theory Christian hymns and Western folk songs were taught in English or translated into Korean. It was then that this music began to be called "Ch'angga" meaning "song." This Ch'angga period also paved a way for the advent of the Korean art song period which began in 1920 with the first art song "Bongsunhwa" by Nanpa Hong.

The art song periods can be divided into three periods which coincide with the three eras of modern political history of Korea. During the first period (1920-1945), early art songs were valued for the message which they conveyed rather than for their artistic and musical qualities. However, in the 1930s composers began to take a serious view of the artistic qualities which expressed the romantic and sentimental conscience of Korea.

During the second period (1945-1960), along with the elevation of overall musical quality, some essential factors of the Korean traditional music were introduced in the art songs. Furthermore, unity between text and music became one of the primary features of the new Korean art song.

During the third period (1960-present) Korean art songs evolved similarly to the contemporary Western art songs. At the same time Korean composers also tried to find identity in music through the Korean traditional music for better expression of the Koreans' unique sentiments.

This study has revealed that the Korean art song borrowed techniques of Western music as it tried to express nationalism, romanticism, sentimentalism, and modernism at different times of its history. Furthermore, composers finally made their way to create a unique Korean version of modernized Western art song.

Indexing (document details)Advisor: Wiley, Darlene, McCreless, PatrickSchool: The University of Texas at AustinSchool Location:

United States -- Texas

27

Source: DAI-A 54/08, p. 2938, Feb 1994Source type: DissertationSubjects: Music education , Education history, Music, HistoryPublication Number:

AAT 9400835

Document URL:



744706101

Cultural identity through music: A socio-aesthetic analysis of contemporary music in South Koreaby Kwon, Oh-Hyang, Ph.D., University of California, Los Angeles, 1992, 268 pages; AAT 9301595Abstract (Summary) The purpose of this dissertation is to provide a socio-aesthetic analysis of contemporary art music in South Korea in its social and cultural context. Music in South Korea is in a transitional state from an indiscriminate reception of Western musical culture to the recognition of a necessity of independent Korean music with a national and cultural identity. In this period of transition, various musical experiments are being performed to establish modern Korean music which is universal in appeal and which, at the same time, uniquely expresses Korean characteristics.

This dissertation investigates the conceptual basis of contemporary Korean music and the present attempts of Korean composers to develop new modern Korean music with a cultural identity. In South Korea, six identifiable schools of thoughts on music have developed. Literary reviews and interviews with leading composers of each school will serve as case studies to explore and to identify the thoughts of Korean composers on music, especially on the relationship of music to society and culture. In addition, the musical styles of each composer in each school are analyzed to demonstrate the ways in which Korean composers express their ideologies through music.

At this time, Korean music which maintains cultural identity does not have a concrete musical reality and not a single model exists. It exists just as a concept or a goal, which resulted from the criticism of the existing westernized musical culture of South Korea. Thus, the definition and the methodology of "Korean music" are different among composers. Each composer makes various attempts to instill Korean music which expresses cultural identity and originality in their own ways. One possibility might be that those attempts will eventually come to create modern Korean music which overcomes the conflict between traditional Korean music and Western music and harmonizes the characteristics of both musical cultures.

Indexing (document details)Advisor: Loza, SteveSchool: University of California, Los AngelesSchool Location:


Source: DAI-A 53/09, p. 3035, Mar 1993Source type: DissertationSubjects: Music, Cultural anthropologyPublication Number:

AAT 9301595

Document http://proquest.umi.com/pqdweb?

28

URL: did=744921801&sid=1&Fmt=2&clientId=61838&RQT=309&VName=PQD


744921801

Music teacher education in Korea through the year 2000: A Delphi studyby Seog, Moonjoo, Ph.D., University of Illinois at Urbana-Champaign, 1991, 236 pages; AAT 9136727Abstract (Summary) Six critical areas concerning music teacher education programs in Korea were addressed including: (a) course offerings curriculum; (b) entrance examinations for admission/selection of students for music teacher education programs; (c) music teacher certification requirements; (d) faculty qualifications; (e) research and development; and (f) status of music educators at the college level.

This study was conducted in a two-round Delphi questionnaire with a panel of experts consisting of 3 government education officials, 8 university administrators, and 25 university teachers.

In the Round One Questionnaire, participants were asked to rate each statement on a 7-point Likert scale of importance. In the Round Two Questionnaire, participants were asked to review each statement and to reconsider their responses in comparison with the responses of the majority, and revise it if they desired.

Analysis of data obtained from the participants was performed on both the total group as a combined total of all participants, and the sub-groups as three separated groups of participants in terms of mean and standard deviation. Responses of the total group were analyzed, based on a comparison of the ratings in Round One and Round Two. They were also analyzed based on the rankings on the Round Two. Responses of the sub-groups were analyzed based on the ratings and rankings individually, then the differences among the sub-groups were compared.

Based on the total group analysis, most statements in the questionnaire reached a high degree of consensus and were highly rated in Round One and in Round Two. In regard to the participants' ratings, it was easy to plan and to implement most statements in the questionnaire as education policies for the improvement of music teacher education programs that would not cause major dissent in Korea. It also has priorities for the change and revision of music teacher education programs in Korea.

Although there were differences found among sub-groups in regard to importance ratings and rankings of items in the questionnaire, the consistency of agreement leads to an important conclusion: a united line of thought among participants is very important because it will facilitate the implementation process of music teacher education programs. (Abstract shortened with permission of author.)

Indexing (document details)Advisor: Peters, G. DavidSchool: University of Illinois at Urbana-ChampaignSchool Location:


Source: DAI-A 52/10, p. 3554, Apr 1992Source type: Dissertation

29

Subjects: Music education , Teacher education, Curricula, TeachingPublication Number:

AAT 9136727

Document URL:



745156511

A comparative study of junior high school general music programs between Korea and the United Statesby Kim, Do Soo, M.M., University of North Texas, 1990, 131 pages; AAT 1342772Abstract (Summary) The purpose of the study was to investigate and compare the general music programs of public schools at the junior high school level between Korea and the United States. The comparison included the organizational structure of general music class, general music curriculum using the fifth revised music curriculum of the Korean middle school and the description and standards for American school music program suggested by Music Educators National Conference, and three music textbooks between both countries.

The author found that Korea differs from America in music class instructional approach, curriculum decision making body, the treatment of curricular subject matters, and the content of textbooks between both countries.

Indexing (document details)School: University of North TexasSchool Location:


Source: MAI 29/03, p. 366, Fall 1991Source type: DissertationSubjects: Music education , MusicPublication Number:

AAT 1342772

Document URL:



747774731

A musical and pedagogical analysis of selected piano works of Byung Dong Paikby Kim, Mi Sook, Ed.D., Columbia University Teachers College, 1990, 162 pages; AAT 9033866

Abstract (Summary) For applied music majors in Korea, most of the repertoire is limited to the 18th and 19th century music. Twentieth century music has been neglected in music education in Korea, therefore, its sound is unfamiliar to most people. Furthermore, the neglect of 20th century studies is not only native to Korea, but is probably universal. To teach 20th century music, teachers should have

30

better background and training in the teaching of that literature. In the education of Korean music students, it would seem more natural and valid to include some of the works of contemporary Korean composers rather than concentrating solely on the music of Western composers. The purpose of this study is to offer music students and teachers knowledge of the various techniques and compositional devices used by Byung Dong Paik, who is often considered representative of contemporary music in Korea.

As background material, an overview of Korean music in the traditional and Western sense is introduced in Chapter II. A biographical sketch of Paik is presented in Chapter III as relevant information to help understand his works. Chapter IV contains a musical analysis of five of his piano works with performance suggestions and discussion of technical problems. The final chapter concludes with educational implications aiming for all levels of students: from the elementary school to college music majors. It contains the author's suggestion on how these selections might apply to other Korean composers.

For advanced piano students, Paik's works are a good means of improving technical and interpretive ability because the five works demonstrate various contemporary techniques.

Through studying these pieces, students can become familiar with contemporary music and develop an ability to approach other contemporary works, especially those of Korean composers. Because Paik used various compositional devices found in contemporary music, educators can use his works to teach contemporary harmonies and techniques. Through playing Paik's compositions, students can improve pianistic technique and develop musical literacy. In addition, they can acquire a general understanding of and appreciation for 20th century music.

Indexing (document details)Advisor: Pace, RobertSchool: Columbia University Teachers CollegeSchool Location:

United States -- New York

Keyword(s): musical analysis, Korea, Paik, Byung DongSource: DAI-A 51/08, p. 2560, Feb 1991Source type: DissertationSubjects: Music, Music education , BiographiesPublication Number:

AAT 9033866

Document URL:



744329941

An analysis of the relationship between Korean art songs and traditional Korean vocal music: A unified concept of Korean musicby Lee, Yeong-kee, Ph.D., New York University, 1989, 265 pages; AAT 9004299

Abstract (Summary) Two distinct musical styles presently coexist in Korea, and this is a cause of controversy. The two styles are Kugak (traditional Korean music) and Yang-ak (Western-style music in Korea). The controversy stems from whether the term "Korean music" connotes Kugak, Yang-ak, or both.

31

An investigation was undertaken based on the proposal that Korean music not be divided into Kugak and Yang-ak, but that it instead be defined as all the widely recognized music existing in Korean society. It was hypothesized that Korean music contains the characteristics of both Kugak and Yang-ak, and it follows from this hypothesis that the concept of Korean music must include both Kugak and Yang-ak.

Some musicologists have claimed that there is no relationship between Kugak and Yang-ak, and that Korean art songs therefore lack characteristics of Kugak. Unfortunately, these musicologists limited their analyses of the music to traditional western methods that are based on musical tones having a steady sound. However, the tone used in Kugak is unsteady.

In the present investigation, analyses were conducted of 12 representative selected Korean art songs to determine if they have stylistic qualities similar to those of Kugak. In contrast to the work of other musicologists, the analytic methods used in the present investigation were based on the unsteady tone quality characteristic of Korean music.

With such methods of analysis it was found that the 12 Korean art songs have definite similarities to traditional Korean vocal music, but that these similarities are not overwhelming. For example, none of the analyzed songs was shown to have all the qualities of traditional Korean vocal music. If an art song did have all those qualities, it would be considered traditional Korean vocal music or a folk song, and not an art song. Thus, the results are consistent with the analyzed art songs having some of the characteristics of, i.e., having partially evolved from, traditional Korean vocal music.

Significance of the analytical results in terms of the continued development of Korean music is discussed.

Indexing (document details)Advisor: Gilbert, John V.School: New York UniversitySchool Location:


Source: DAI-A 50/12, p. 3788, Jun 1990Source type: DissertationSubjects: Music, Music education Publication Number:

AAT 9004299

Document URL:



745604441

A comprehensive examination of music teacher training programs in selected universities in the Republic of Koreaby Jang, Ki-Beom, Ph.D., University of Michigan, 1988, 123 pages; AAT 8814664Abstract (Summary) The main focus of this study was to examine the quality and effectiveness of the current secondary school music teacher training programs of five leading universities in the Republic of Korea: Seoul National University (SNU), Ehwa Womans University (EWU), Yonsei University (YSU), Han-Yang University (HYU), and Kyung Hee University (KHU). Specifically, the study was designed to: (1) Examine the components of the present undergraduate music teacher training programs of the five major universities in the Republic of Korea. (2) Evaluate the effectiveness of the music teacher training programs in these five institutions. (3) Select effective music teacher training

32

concepts that are appropriate for improving the music teacher training programs of the five selected Korean institutions. (4) Develop recommendations and guidelines for music teacher education programs of the five institutions in Korea.

In order to achieve the purpose of the study, the researcher employed the following data collecting tools and methods: (1) curricula analyses, (2) a pilot study, (3) a questionnaire for secondary school music teachers, (4) a questionnaire for secondary school students, (5) the MLR Test of Melodic Ear-to-Hand Coordination (TMEHC), (6) the MLR Test of Musical Discrimination and Aural Acuity, (7) interviews, and (8) observation of programs.

The analyses of the data yielded a list of multidimensional findings. The five selected Korean universities' teacher education programs meet the listed legal requirements for teacher certification. However, their programs were not satisfactory in preparing prospective secondary school music teachers with the following ways: (1) the stated goals and objectives of the five universities' music programs were not oriented towards the development of a competent music educator but were geared towards a student majoring in performance, and (2) the procedures, methods, and content of the music teacher training programs were outdated, monotonous, and far from meeting the practical needs of prospective secondary school music teachers.

An innovative curricular revision in preparing music teachers of Korea directed towards more practical and unique societal needs of the country was recommended for the further development of the nation's musical environment. Further, specific guidelines and recommendations for future music teacher training programs and research were drawn based upon the findings of the study and a broad knowledge of music teacher education.

Indexing (document details)Advisor: Standifer, James A.School: University of MichiganSchool Location:


Source: DAI-A 49/07, p. 1727, Jan 1989Source type: DissertationSubjects: Music education , Teacher education, Higher

education, Curricula, TeachingPublication Number:

AAT 8814664

Document URL:



743941931

A history of Korean danceby Suhr, Moon Ja Minn, Ph.D., Texas Woman's University, 1988, 353 pages; AAT 8827492

Abstract (Summary) Comprehensive information about Korean dance with its historical, political, social, and cultural background in relation to theatre, costume, and music is presented. Major sources included the New York Public Library Dance Collection, the Korean Cultural Center of the Consulate General in Los Angeles, the Korean Ministry of Culture, the Korean National Classical Music Institute, the Korean National Commission for UNESCO, the Korean Culture and Arts Foundation, and the International Cultural Society of Korea. Until the end of the Yi Dynasty (1910) Korean dance was

33

of two types: court, for ceremonies and the entertainment of the upper class and visiting foreign dignitaries; and folk, for the lower classes (ignored by governmental officials). As the class system disappeared from Korean society, it did so also in dance. Korean dance now includes court, religious, folk, mask, and Western influenced modern dance forms. All are highly respected and officially supported by governmental, educational and other organizational agencies. A governmental system for preserving tangible and intangible cultural assets officially recognizes all forms of dance, and that dance is an important subject taught throughout the nation's school system.

Indexing (document details)School: Texas Woman's UniversitySchool Location:


Source: DAI-A 49/10, p. 2848, Apr 1989Source type: DissertationSubjects: Fine Arts, Music, TheaterPublication Number:

AAT 8827492

Document URL:



744996511

MUSIC AND SHAMANISM IN KOREA: A STUDY OF SELECTED 'SSIKKUM-GUT' RITUALS FOR THE DEAD (IMPROVISATION)by PARK, MIKYUNG, Ph.D., University of California, Los Angeles, 1985, 372 pages; AAT 8519142

Abstract (Summary) Of all the mu ("shamanistic") rituals performed in contemporary Korea, kut is the most important. Through the medium of the mudang ("shamans"), people by sponsoring these rituals can ask the gods to look kindly on them and their family to bestow good fortune and to ward off evil spirits. Kut is a multifaceted, complex entity embracing many artistic and other elements, such as singing, dancing, poetry, drama, magic and possession. Of all these, music is the common medium through which the others find expression.

The kut ritual is believed to have its roots in ancient tradition. In the first chapter of this dissertation, this author surveys the historical evidence of the mudang and the ritual and then takes a look at the role they play in contemporary Korean society. She focuses especially on the tanggol of Chindo Island (where the bulk of her research was done) who, through a hereditary line of succession, still fulfill the function of religious leaders.

In the following chapters, the author concentrates on the performances of the Ssikkum-gut (Washing Ritual for the Dead) that were observed and in which she took part on Chindo. Through a detailed description of the ritual, she shows how the music is integrated with, and is related to, the other elements. The complex artistic interrela- tionship of the islanders, the ritual and the ritualists, is also shown. This dissertation continues with a technical analysis of the marvel- ously organised ritual music: its organizing principles are explored and some important parameters chosen, of which a detailed analysis is made of each.

Finally, the author deals with the tanggol and their accompanists (the koin) as creative musicians who are not merely performers of previously learnt music (and text). At the moment of performance, they invent melody and poetry to satisfy the unique circumstances of each ritual. They act and interact with each other in a highly skilled but intuitive fashion, rarely if ever, matched

34

by other Korean musicians. To this end, a close stylistic study is made of how both individual performers, and integrated groups of tanggol and koin, make use of improvisation.

Indexing (document details)School: University of California, Los AngelesSchool Location:


Source: DAI-A 46/07, p. 1775, Jan 1986Source type: DissertationSubjects: MusicPublication Number:

AAT 8519142

Document URL:



748618661

A SURVEY OF SECONDARY KEYBOARD TRAINING PRACTICES IN THE NATIONAL TEACHERS COLLEGES IN THE REPUBLIC OF KOREA WITH RECOMMENDATIONS FOR IMPLEMENTATION OF A CLASS PIANO PROGRAMby SUNG, JIN HE, Ph.D., The Ohio State University, 1984, 161 pages; AAT 8410432

Abstract (Summary) The purposes of the study were to survey current programs, practices, and problems in the area of secondary keyboard study programs for elementary education majors in Korean teacher training institutions and to recommend for implementation a comprehensive two-semester class piano curriculum for prospective classroom teachers in such institutions.

A survey questionnaire was sent to 34 secondary keyboard faculty in nine four-year national teachers colleges in Korea. Twenty-four (70.5%) questionnaires from eight (88.8%) institutions were returned.

The major findings of the study were: (1) All of the participating institutions required a secondary keyboard course for all elementary education majors. (2) The majority of the respondents conducted a secondary keyboard course through private lessons to a large number of students within a limited number of weekly hours which resulted in an extremely small weekly student contact time. (3) No respondents employed a group piano method which had been widely used in American teacher training institutions to prepare prospective music teachers and classroom teachers to gain keyboard skills. (4) Functional keyboard skills taught in a secondary keyboard course included sightreading, technical development, and harmonization. (5) The small amount of class time, excessive faculty loads, and inadequate teaching facilities were identified by the majority of the respondents as the basic problems of existing secondary keyboard programs. (6) Most of the respondents expressed genuine interest in learning about and trying the group piano instruction methods.

After a careful analysis of the data, the investigator developed a two-semester class piano curriculum for elementary education majors which included minimum keyboard proficiency and minimum keyboard performance objectives in various areas of keyboard skills for each semester.

Indexing (document details)School: The Ohio State University

35

School Location:


Source: DAI-A 45/01, p. 112, Jul 1984Source type: DissertationSubjects: Music education Publication Number:

AAT 8410432

Document URL:



752145711

"KAMYONGUK": THE MASK-DANCE THEATRE OF KOREA (T'ALCH'UM, SANDAE, OKWANGDAE)by LEE, MEEWON, Ph.D., University of Pittsburgh, 1983, 396 pages; AAT 8411756

Abstract (Summary) Kamyonguk is the mask-dance theatre which is the most theatrical and widespread dramatic mode in Korea among the traditional theatrical entertainments. This dissertation explores Kamyonguk in both its dramatic form and its theatrical representation as well as its historical background. It also tracres Kamyonguk's relation to the folk ritual, hopefully providing some illumination into the long-puzzled relationship between ritual and theatre. In addition, this study intends to make reference material on Kamyonguk available for Western readers.

Kamyonguk's rise may be traced back to the shamanistic village ritual/festivals, which gradually became similar to the extant form after absorbing aspects of the professional theatrical entertainment. Since the Kamyonguk is composed of a series of episodes which are limited and identifiable in spite of regional variety, the comparison of each episode in various regional Kamyonguk and the general characteristics of Kamyonguk can be easily traced. The following general conventions of Kamyonguk have been noted: type-character, masks, self-identification and explanatory monologue, direct communication with the audience and audience participation, songs and dances, Pullim (a connector of dialogue and dance), repetition, and improvisation. When Kamyonguk is analyzed according to Aristotle's concept of drama, Kamyonguk more or less reverses his order of importance of the six elements in drama. An effort has been made to compare some conventions and story-motifs of Kamyonguk to Western theatre forms such as the Commedia dell'Arte and the Mummers' play. Also, the oral basis of Kamyonguk has been explored through the application of the Parry-Lord theory. Various elements of the performance--the actors' training, the stage, the dance and movement, the music and song, the costume and property, and the mask--have been examined in order to suggest a vivid picture of Kamyonguk's performance.

Kamyonguk shows many true characteristics of folk theatre. Furthermore, it never completely loses the ritualistic function of social purgation by providing an opportunity to vent the frustration of the common people. As a true folk theatre always does, it has survived the rapid changes of time and has once again become recognized as a celebration of national identity by the Korean people.

Indexing (document details)School: University of PittsburghSchool Location:


Source: DAI-A 45/02, p. 346, Aug 1984Source type: DissertationSubjects: Theater

36

Publication Number:

AAT 8411756

Document URL:



752522791

ANALYSIS AND HISTORY OF CURRICULUM IN MUSIC EDUCATION IN KOREAN HIGHER EDUCATION: IMPLICATIONS FOR THE FUTUREby CHAY, SHIWOHN, Educat.D., Boston University School of Education, 1981, 286 pages; AAT 8203887

Abstract (Summary) From the early 1970s on, the adaptation of the traditional European conservatory system in the curriculum of colleges of music in Korea has been problem among music educators. The author has approached the problem by studying two different historical paradigms; one, the indigenous Korean history of education, and music education, the other the Western conception of music education which was introduced to Korea in the late 19th century, and has served as a model for modern developments.

The author studied the educational concepts of the conservatory, the school of music, and the music department in the United States. At its inception, the conservatory was a copy of the traditional European conservatory, but it has developed from a diploma-granting institute to a Bachelor of Music degree-granting institute by requiring that liberal arts courses be taken. The Music Department concept continues the musica speculativa concept of the Medieval university, modified in that a limited number of credits of applied music are accepted in some instances. The concept of a School of Music, which covers both musica practica and speculativa, was born in the United States and widely adapted by private and state universities since late 19th century.

The music educational institutes in Korea were patterned after the American School of Music since the Liberation. However, most of the music faculty members teaching in the Korean system were educated in Japan. Consequently, there have been conflicts between the models of the system and the views of the faculties. The author also discovered that leaders within the Korean musical community have systematically misunderstood the American conservatory and the school of music system. The study concludes that the American concept has been accepted and institutionalized, but the faculty who predominate in the system are slow to grasp the American concept, one which separates the degree program from the diploma program.

Indexing (document details)School: Boston University School of EducationSchool Location:


Source: DAI-A 42/09, p. 3898, Mar 1982Source type: DissertationSubjects: Music education Publication Number:

AAT 8203887

Document URL:


ProQuest 749317001

37

document ID:

A PROPOSED BASIC TEXTBOOK FOR THE COLLEGE-UNIVERSITY METHODS COURSE IN MUSIC EDUCATION FOR SECONDARY SCHOOL TEACHERS IN THE REPUBLIC OF KOREAby CHUNG, SOOK-KYUNG AUH, Ph.D., The University of Alabama, 1979, 371 pages; AAT 8004539Indexing (document details)School: The University of AlabamaSchool Location:

United States -- Alabama

Source: DAI-A 40/08, p. 4463, Feb 1980Source type: DissertationSubjects: Music education Publication Number:

AAT 8004539

Document URL:



748792371

THE HISTORY OF SCHOOL MUSIC EDUCATION IN KOREA FROM 1886 TO THE PRESENTby KIM, ANTHONY HAKKUN, Educat.D., University of Northern Colorado, 1976, 119 pages; AAT 7623179Indexing (document details)School: University of Northern ColoradoSchool Location:

United States -- Colorado

Source: DAI-A 37/04, p. 2045, Oct 1976Source type: DissertationSubjects: Music education Publication Number:

AAT 7623179

Document URL:



760489371

The Okinawan classical songs: An analytical and comparative studyby LaRue, Adrian Jan Pieters, Ph.D., Harvard University, 1952, 273 pages; AAT 8909261

Abstract (Summary)

38

On Okinawa, the sixty-seven mile island at the southern end of the Japanese chain, a repertory of nearly to hundred dance songs survives from the 18th century. These songs furnish the musical background for a wide variety of events, from stylized festivals to informal village music. The dissertation investigates the following topics: (1) The history and culture of Okinawa. In the 15th and 18th centuries Okinawans pursued a sea-faring trade much like the early Phoenicians in the Middle East. The resulting wealth of Okinawan royal courts led to a high musical culture. (2) Musical instruments and vocal style. Okinawan instruments include indigenous variants of shamisen, koto, small drum (taiko), kokyu, and bamboo flute. The complex vocal technique ornaments the shamisen line with slides, microtonic ornaments, and gutteral articulations. (3) The Okinawan notation system. The four-volume collection of songs (KUKUSHI) survives in a unique tablature notation: simple Chinese characters representing shamisen finger positions form vertical columns of boxes, each box equal to one beat (= approximately one Western quarter-note). (4) The forms of the dance songs. Most Okinawan songs are multistrophic, with simple internal designs such as AA, AB, or ABAC, framed by a distinctive shamisen, "ritornello". (5) Poetic texts and musical setting. Song texts usually take the form of the Okinawan bushi, a four-line poem with 8-8-8-6 syllable arrangement that obviously relates to the Japanese bushi (7-7-7-5). (6) The Okinawan gapped scales and the character of Okinawan melody. A reduction of melodic configurations reveals six characteristic scales or modes, based on different shamisen tunings (C-F-C, C-G-C-, E-F-C, C-F-B$\flat$). Each mode omits one or more notes in using diatonic series similar to Western pitch sequences (except for a "neutral" seventh degree in some songs and various microtonic effects). (7) Rhythm and tempo. The remarkable notation system indicates exact duple beat-fractions from 16ths to multiple tied quarters. Tempos range from MM.54 to 200. (8) Okinawan heterophony: The varied unison style. The highly ornamented vocal style often created sharp dissonances against the basic shamisen line. (9) Connections with other oriental styles. Japan, China, Korea. (10) Conclusion. Comparative aspects of complexity and sophistication in Okinawan music.

Indexing (document details)School: Harvard UniversitySchool Location:


Keyword(s): JapanSource: DAI-A 49/12, p. 3545, Jun 1989Source type: DissertationSubjects: MusicPublication Number:

AAT 8909261

Document URL:



745784071

Musical transmissions: Folk music, mediation and modernity in northern Vietnamby Meeker, Lauren, Ph.D., Columbia University, 2007, 348 pages; AAT 3266642

Abstract (Summary) This dissertation examines the relationship between national and local identity and its connection to the mechanics and politics of the circulation of culture in Vietnam. I investigate this issue through the lens of Vietnamese folk music, focusing in particular on quan ho[dotbelow][dotbelow] folk song and chèo musical theater. These two folk forms are both well known in Vietnam beyond their localities of origin because of their extensive presence in the mass media and they have also been subject to the intervention of government officials and scholars concerned with preserving

39

the disappearing cultural heritage of Vietnam. Consequently, they are powerful sites in which formations of state power, national and local identity, and modern subjectivity are contested in contemporary Vietnam. In the dissertation, I investigate how changing social practices of performance reflect upon wider societal changes from the revolutionary period up to the present day. To do so, I examine compositional practices, embodied practices in performance, the mass mediation and professionalization of folk music, and the staging of culture. In this context, I engage directly with two main areas of broad anthropological and interdisciplinary import. First, I am concerned with the formation and structure of ethnographic knowledge and its role in state formation and national identity. In particular, I demonstrate how discourses of locality and local identity become crucial to broader definitions of national identity in post-revolutionary Vietnam. Second, I address how the concept of tradition emerges as an object in modernity only after its initial "disappearance." I argue that Vietnamese folk culture has returned as a representation of itself in the post-reform era particularly in its instantiation as "cultural heritage." Today folk culture is re-staged in the very places in which it is said to have originated but these re-stagings are now marked as national, as Vietnamese (as opposed to simply local) and, most recently, as "heritage."

Indexing (document details)Advisor: Morris, Rosalind C.School: Columbia UniversitySchool Location:


Keyword(s): Folk music , Mediation, Modernity, Vietnam, Cultural heritage, National identity

Source: DAI-A 68/06, Dec 2007Source type: DissertationSubjects: Cultural anthropology, MusicPublication Number:

AAT 3266642




1375510191

Charting the trajectories of music piracy in Ho Chi Minh City, Vietnamby Trinh, Ngan Thoai, M.A., Concordia University (Canada), 2006, 122 pages; AAT MR20682

Abstract (Summary) This study focuses on how the expanding market for pirated music in Vietnam has led to transnational flows of texts and genres, and to changes in how the state, music companies, pirates, and consumers deal with one another. Using theories put forth by Roger Wallis and Krister Malm (1984) and Shujen Wang and Jonathan Zhu (2003), the goal of my research is to identify major technological, economic, and organizational shifts taking place within the distribution and consumption of compact discs (CDs) in Ho Chi Minh City. This work suggests that Vietnam

40

operates outside of our traditional understanding of the music industry or cultural flows. Unauthorized music products are helping to create a demand for all types of music in Vietnam and this begs us to question whether piracy is as negative for this country as previously thought. This thesis argues that the piracy in HCMC is a rare case of defiance and triumph over major global corporations. This study explores the magnitude of international copyright conventions, intellectual property rights enforcement, the structure of the domestic industry and the high profitability and affordability of piracy. Using a qualitative case studies approach, this examination looks at the different political, legal and regulatory frameworks that control the trajectories of music piracy in Ho Chi Minh City.

Indexing (document details)School: Concordia University (Canada)School Location:

Canada

Source: MAI 45/03, Jun 2007Source type: DissertationSubjects: Law, Music, Mass mediaPublication Number:

AAT MR20682




1253488401

The civics of rock: Sixties countercultural music and the transformation of the public sphereby Kramer, Michael Jacob, Ph.D., The University of North Carolina at Chapel Hill, 2006, 424 pages; AAT 3219453

Abstract (Summary) For the counterculture of the 1960s and 70s, rock music was not only mass entertainment, but also a form of public life. While many scholars have argued that rock was incompatible with civic participation, this book claims that in music scenes such as San Francisco, in poster art and dancing, on the radio and in print publications, rock served as a flash point for dilemmas of citizenship and civil society. As frequently as it deteriorated into escapism and hedonism, rock also created an atmosphere of inquiry in which the young might listen, think, move, and feel their way through issues of public and civic interaction, such as identity, belonging, power, and democracy. Even when exported by the American military to Vietnam or when circulating to youth movements worldwide, far from eclipsing public life, rock music transformed it into a mass-mediated mode of association that prefigured the civics of global society.

Indexing (document details)Advisor: Kasson, John F.School: The University of North Carolina at Chapel HillSchool Location:

United States -- North Carolina

Keyword(s): Countercultural music , Public sphere, Nineteen 60s, Rock music, Popular culture

Source: DAI-A 67/05, Nov 2006

41

Source type: DissertationSubjects: American history, Music, American studiesPublication Number:

AAT 3219453




1158516791

Traces of places: A vicarious journey into memories of the homeland in a Lao-American communityby Turpin, Leslie, Ph.D., California Institute of Integral Studies, 2004, 464 pages; AAT 3126939

Abstract (Summary) While much has been written on the adjustment of Southeast Asian refugees after the Vietnam War, little has been written on the sharing of the first generation's memory of place with their children who grew up here. There is also little written on the outside researcher's experience making meaning in a Lao-American community. This study develops a bricolage methodology to attend to both of these issues simultaneously and the paper describes the dynamic and symbiotic learning that resulted from it. The author focuses on one Laotian-American community's experience and examines how, when, where, and why memories of place are passed from one generation to the next. Using the organizing concepts of ecological identity, migrating stories, and hearths and market places, the paper examines the interplay between stories told, memories practiced, and Lao folk music sung in the community. The paper is written as several stories and attempts to capture the distinct voices and experiences of the ten participants, the translator, and the researcher. The paper honors the role of heart in the research process while probing into the fictions and subjectivity resulting from the author's analysis, experience as a U.S. born daughter of a refugee, and connection to Southeast Asian American communities. The paper finds that, even in a tight community with a rich tradition of oral storytelling, the passing of memories of place is a difficult and endangered process embedded in cultural practices and language that are at risk of moving out of circulation. This paper suggests the need for future research on: (a) the dynamic passing of memories of place over time in whole families and communities; (b) the identification and revival of language and cultural practices that foster the passing of culture from one generation to the next; (c) the identification and support of intimate and public places that can house those practices; and (d) the development of bricolage methodologies that evolve in the cross-cultural meeting ground between the researcher's and participants' worlds.

Indexing (document details)Advisor: O'Fallon, TerriSchool: California Institute of Integral StudiesSchool Location:


Keyword(s): Refugees, Southeast Asia, Vicarious journey, Memories, Homeland, Lao-American, Community

Source: DAI-A 65/03, p. 1134, Sep 2004Source type: DissertationSubjects: Minority & ethnic groups, Sociology, Folklore, Families & family

life, Personal relationshipsPublication AAT 3126939

42

Number:

Document URL:



765815361

A study of the music tradition and its contemporary change of the Theravada Buddhist Festival ritual performance of Dai ethnic nationality in Yunnanby Yang, Minkang, Ph.D., The Chinese University of Hong Kong (Hong Kong), 2002, 355 pages; AAT 3052096

Abstract (Summary) The Daizu is one of ethnic nationalities of China. They live mainly in the Xishuanbanna Daizu Autonomous Prefecture and the Dehong Jingpozu-Daizu Autonomous Prefecture of Yunnan Province in Southwest China. Outside of China, they also distribute over several Southeast Asian countries, including Burma, Thailand, Vietnam and Laos. Dai's religious culture is Theravada Buddhism. Dai people once practiced many religious ceremonies and festivals such as the Varsika festival and Sankan festival. Owing to political-economic reasons, majority of these religious ceremonies and festivals have become secular activities. The Varsika festival, however, in still surviving as a purely religious festival, and the rich contents of its ritual music have been well preserved.

This dissertation consists the following: (1) a brief description of the author's field work experience and the state of research in this subject area; (2) an ethnographic account of ritual music of the Dai festivals; (3) an analysis of the music repertory and regional stylistic traits of the Varsika ritual festival; (4) discussion of the diachronic relationship between the Varsika ritual tradition and an ancient ritual music; (5) an investigation of the culture relations among Buddhist ritual music of minorities such as Blan, Dean and Acan. This leads to a discussion of the transtegional musical elements of Dai Buddhist ritual music, as well as its multi-layered identify; (6) a analysis of the process and factors of change from the historical geographical tie with Burmese Buddhist ritual tradition to the present economic tie with Thai Buddhist ritual tradition and; (7) a discussion of influence exerted to the Varsika ritual tradition by contemporary social and economic modernization.

Indexing (document details)Advisor: Yee, Tsao PoonSchool: The Chinese University of Hong Kong (Hong Kong)School Location:

Hong Kong

Keyword(s): China, Chinese text, Music tradition , Theravada Buddhist Festival, Ritual, Performance, Dai, Ethnic nationality, Yunnan

Source: DAI-A 63/05, p. 1625, Nov 2002Source type: DissertationSubjects: Archaeology, Music, Minority & ethnic groups, SociologyPublication Number:

AAT 3052096



43


726480351

Quan ho singing in North Vietnam: A yearning for resolutionby Le, Chan Ngoc, Ph.D., University of California, Berkeley, 2002, 349 pages; AAT 3063447

Abstract (Summary) This dissertation is about the quan ho[dotbelow] singing practice as it is taking place today in the Ba ć Ninh region, about 30km north of Hà Nô[dotbelow]i, the capital city of Vietnam. This antiphonal singing tradition is believed to have emerged some time between the eleventh and fifteenth centuries in the context of courtship-ritual festivals. Regarded as the pride of the Ba ć Ninh people as well as a prized heritage of Vietnam, it both benefited and suffered from the state's intervention during the period of heightened awareness of nationalism following the August Revolution in 1945. Grounding my argument in the notion of tension-release--a common expression in Vietnamese traditional music--and Shils's overarching idea of social integration (1975), I attempt to explain the development of quan ho[dotbelow] practice in terms of balancing the pressure exerted by political/cultural institutions and the demands caused by quan ho[dotbelow] persistence--a manifestation of social dialectics in the life of the Ba ć Ninh people. Factors that are considered include Vietnamese history, traditional and contemporary context, the incorporation of folk poetry ( ca dao ), cultural policy, social modernization, musical professionalization, and key individuals. Historically and culturally, quan ho[dotbelow] singing suggests a path of acculturation, which sympathetically resonates with the rich history of the Ba ć Ninh region: a profound Chinese-Vietnamese layer, a strong imprint of Cham artists and prisoners, and an ancient bond with the Tày-Nùng minority. Musically, quan ho[dotbelow] practitioners have demonstrated an ability to create a great number of variations based on the theme of tension-resolution, which is embodied in the quan ho[dotbelow] basic complete melodic contour of rising-quavering-falling . Above all, this dissertation attempts to enunciate a sense of yearning for resolution among quan ho[dotbelow] practitioners that is expressed in a passion for singing, and to provide a basic understanding of how such a passion has been channeled through time with and without the shaping hands of the central and local authority. This passion feeds on a fertile ground, nurtured by a local perception of place, its historical significance, and the singers' urge to express their emotion through songs within a framed social reality.

Indexing (document details)Advisor: Wade, Bonnie C.School: University of California, BerkeleySchool Location:


Keyword(s): Singing, Vietnam, Quan ho, Folk music , NationalismSource: DAI-A 63/09, p. 3052, Mar 2003Source type: DissertationSubjects: MusicPublication Number:

AAT 3063447




764848181

44

Forging Asian American identity: Race, culture, and the Asian American movement, 1968--1975by Maeda, Daryl J., Ph.D., University of Michigan, 2001, 236 pages; AAT 3001003

Abstract (Summary) This dissertation is a cultural and political history of the emergence of Asian American identity during the late 1960s and early 70s. In it, I trace shifting and competing paradigms by which Asian ethnic groups in the United States understood their relationship to each other, to Asia, and to the U.S. I contrast the multi-ethnic racial category of "Asian American" with prior modes of Asian American political organizing, including assimilationist Americanism, Asian nationalism, and leftist unionism and communism. In addition, I examine the extent to which Asian American identity arose as a response to the Black Power and anti-Vietnam War movements. The ideology of Black Power rejected the ethnic assimilation model and foregrounded race as a persistent category sustained by structural racism; confronting Black Power forced progressive Asian Americans to examine their own position as a racialized people. Opposition to the Vietnam War heightened Asian Americans' awareness that anti-Asian racism in the U.S. was an extension of U.S. imperialism in Asia and provided both the motivation and means for building a multi-ethnic movement and identity. The ideologies of Black Power and opposition to the war did not create Asian American identity de novo, but rather the Asian American movement adapted them to provide a coherent framework within which to organize Asian American identity.

Methodologically, I investigate various conceptualizations of racial, ethnic, and national identity by examining the Japanese American Citizens League's assimilationist culture of performing Americanism during the 1930s, the liberalism of S. I. Hayakawa's general linguistics in the 1940s, and cultural productions of the Asian American movement, including plays by Frank Chin and Melvyn Escueta, poetry, journalism, and the music of A Grain of Sand from the 1960s and early 70s. I conclude that Asian American culture as articulated by the Asian American movement did not seek to eliminate ethnic distinctions, but instead built Asian American identity as a multi-ethnic racial category unified by opposition to both domestic racism and U.S. imperialism.

Indexing (document details)Advisor: McDonald, Terrence, Sanchez, GeorgeSchool: University of MichiganSchool Location:


Keyword(s): Identity, Race, Culture, Asian-American movementSource: DAI-A 62/01, p. 220, Jul 2001Source type: DissertationSubjects: American studies, American historyPublication Number:

AAT 3001003




728444401

Music training and cultural transmission: A study of piano pedagogy and the transmission of culture in Vietnam and Thailand

45

by Rosen, Deborah A., Ph.D., The Claremont Graduate University, 1998, 137 pages; AAT 9821513

Abstract (Summary) The purpose of this study was to analyze the pedagogical approaches of piano teachers in Vietnam and Thailand, who, by definition, instruct a western instrument. Focusing upon music education in Vietnam and Thailand also meant developing an awareness of cultural differences between western and non-western styles of teaching and basic cultural differences between students and teachers. Theories of cross-cultural communications, sociology and ethnomusicology were instrumental in the exploration of answers related to transmission of music learning as applicable to the student in his or her foreign country.

Related to this last point was a chapter that dealt with the bicultural student, defined as either an immigrant or first generation United States citizen. Vietnamese-American and Thai-American students were significant to this study, examples of their teacher-student relationships helped explain the causes of misunderstandings in intercultural interactions and relationships.

In order to collect data the author traveled to both Vietnam and Thailand to conduct interviews with teachers and observe students in private lessons. An equal number of lessons were observed in conservatory settings as well as in private studios. Interviews with teachers in the United States and Canada were also conducted over a year-long period.

An annotated anthology of selected compositions by native born Vietnamese and Thai composers, ranging from elementary to upper intermediate level was added to the text in order to let readers decide upon the inclusion of this music into student repertoire. Compositions combined idiomatic elements of traditional Vietnamese and Thai music along with western tonalities and harmonies.

Hofstede's dimensions of individualism and collectivism proved to be the most helpful in deriving a common ground with the student from Vietnam or Thailand. The concept of dual socialization, as part of de Anda's theories on bicultural socialization, were instructive in this domain.

As the descendants of western Europeans, we are affected by the literature and the arts that have come to us from our ancestors. One must consider that there is a body of art and music that comes with its people from another land and combine with this the legacy that we have ourselves established.

Indexing (document details)School: The Claremont Graduate UniversitySchool Location:


Source: DAI-A 59/01, p. 117, Jul 1998Source type: DissertationSubjects: Music education , Bilingual education, Multicultural

education, Fine ArtsPublication Number:

AAT 9821513




736888211

Popular music in the history classroom: A case study

46

by Burroughs, Charlotte Dianne, Ph.D., Mississippi State University, 1997, 213 pages; AAT 9818673

Abstract (Summary) Many students find history to be boring and irrelevant. Ineffective or exclusive use of lectures and textbooks has been identified as a problem associated with teaching history. Calls have been made for varied, innovative methods and materials that stimulate students' interest in history. Some has suggested using popular music can meet this need.

A case study was conducted to determine why and how popular music might be used in teaching history. Study participants included a history professor, who uses popular music, and students from his classes. Data collection included a survey of students, classroom observations, individual interviews of the professor, focus group interviews of students, and a review of instructional materials. Data were analyzed via content analysis, coding, and indexing. Categorical matrices were used to organize and synthesize the data to identify emerging themes.

The study's findings indicated that using popular music can have positive impacts on the teaching and learning of history. Popular music can serve as an introductory device to capture and focus students' attention. Using popular music can enhance the classroom atmosphere and students' attitudes toward learning about history. Playing carefully selected songs can have powerful effects due to the emotional and entertainment value implicit in the lyrics and music. The use of popular music in the classroom can connect students, music, and the study of history in interesting, relevant ways. However, this study revealed that the effectiveness of the use of the popular music did not depend solely upon the music. Rather, the use of the music was intrinsically related to and dependent upon the personality and the demeanor of the professor as well as why and how it was used.

Based on the findings of this study, it is recommended that popular music can be used in the teaching of history (e.g., the Vietnam War). It is also recommended that popular music can be used to interest and instruct students, and it can be taught in the same way that textbook material is taught. The results of the study indicated there is a need for further research in the following areas: (a) using popular music of other eras and topics in history, (b) using popular music in teaching history at varying grade levels, (c) using other kinds of music in the history classroom, (d) using popular music in other classrooms and/or by other teachers, and (e) the impact of popular music on student achievement and/or motivation.

Indexing (document details)Advisor: Hare, DwightSchool: Mississippi State UniversitySchool Location:

United States -- Mississippi

Keyword(s): teachingSource: DAI-A 58/12, p. 4537, Jun 1998Source type: DissertationSubjects: Curricula, Teaching, Social studies education, MusicPublication Number:

AAT 9818673




736837841

47

The Rengao of Vietnam: An ethnography of textsby Gregerson, Marilyn Joyce, Ph.D., The University of Texas at Arlington, 1991, 481 pages; AAT 9217631

Abstract (Summary) The past decade in anthropology has witnessed a renewed interest in the fundamental assumptions and methods of writing ethnologies. There has been a departure in some quarters from the extreme formalism and quantitative preoccupation often associated with doing "good objective science." The alternative offered is one which takes seriously the language of the culture insider and the ways in which he uses it to construct his own version of reality.

The present study is, in the spirit of this language oriented anthropology, an ethnography of texts. Specifically, it is a description, via their own discourses, of the way of life of the Rengao, a Mon-Khmer minority group of the Central Highlands of Vietnam. Based on oral and written texts by Rengao people who describe their own customs, tell their folktales, make public speeches, and even dialogue with outsiders who ask curious questions, the goal is to understand Rengao culture from the insider's point of view.

This study, while offering a view of the range of Rengao literary devices which make the message form a work of art, deals, at the same time, with the many aspects of social life that one expects in an ethnography. A brief survey of the historical context in which the Rengao live provides background for elaborating on their social structure, authority patterns, music, religion and means of subsistence. All of these, however, are viewed as reflections in the mirror of how the Rengao themselves talk about their world.

Indexing (document details)Advisor: Bastien, Joseph W.School: The University of Texas at ArlingtonSchool Location:


Keyword(s): text ethnographySource: DAI-A 53/01, p. 198, Jul 1992Source type: DissertationSubjects: Cultural anthropology, Asian literaturePublication Number:

AAT 9217631

Document URL:



745947091

MODALITY IN THE "NHAC TAI TU' " OF SOUTH VIETNAMby TRAINOR, JOHN PAUL, Ph.D., University of Washington, 1977, 292 pages; AAT 7718431Indexing (document details)School: University of WashingtonSchool Location:


Source: DAI-A 38/03, p. 1113, Sep 1977

48

Source type: DissertationSubjects: MusicPublication Number:

AAT 7718431

Document URL:



760501731

Developing an indigenous hymnody for the Naga Baptist churches of northeast India with special reference to the Angami Churchby Peseye, Vivee Kenileno, Ph.D., Southwestern Baptist Theological Seminary, 2003, 306 pages; AAT 3108668Abstract (Summary) The Nagas of northeast India are part of the country's sixty million-plus tribal people, and have for at least a millennium resided at the tri-junction of China, India, and Myanmar. The conversion of the Nagas to Christianity is viewed by the nationals as a revolution in their history. American Baptist missionaries were the first to initiate a spiritual emancipation as early as the 1830s. As the missionaries preached the gospel of Christ with great fervor, their message was further enhanced and undergirded with their songs and hymns.

The Nagas are passionate lovers of music and have a rich heritage in folk songs. With the advent of Christianity, however, they began to express their faith musically in the Western idiom while, at the same time, holding suspect or even despising their folk idioms. In recent times, however, indigenous songs based on folk idioms have started to gain an acceptance within the Naga Christian community just as much as the Western songs. Incorporating these songs into their Christian worship is a feasible future prospect.

The first two chapters of this study provide background information on the Naga people including their history, culture, and the influence of music in their Christian worship. The third chapter documents the Angami Naga song genres that are currently known to them and provides some rudimentary analysis of the Angami indigenous music system derived from these genres. This chapter also classifies existing Naga musical instruments using the Sachs-Hornbostel system. The last two chapters deal with practical issues on developing a hymnody that is indigenous to the Naga people. Existing indigenous music models are examined, and the validity for their uses in the Naga worship is discussed.

Indexing (document details)Advisor: Moore, James StanleySchool: Southwestern Baptist Theological SeminarySchool Location:


Keyword(s): Indigenous hymnody, Naga, Baptist, India, Angami ChurchSource: DAI-A 64/10, p. 3531, Apr 2004Source type: DissertationSubjects: MusicPublication Number:

AAT 3108668


49



765024051

State patronage of Burmese traditional musicby Douglas, Gavin Duncan, Ph.D., University of Washington, 2001, 265 pages; AAT 3022831

Abstract (Summary) In the past decade the ruling junta of the Union of Myanmar has begun several large-scale projects aimed at preserving cultural heritage and forging national unity. These include; the formation of the University of Culture (offering degrees in music, theatre, and sculpture), the genesis of an annual performing arts competition, and the implementation of a standardization project designed to unify and notate a five hundred year old oral tradition. Each project enjoys ample government funding and significant attention in the state press at a time when Burma (Myanmar) is suffering great economic hardship.

This dissertation examines these cultural projects in light of the present dictatorship's quest for legitimacy. It will be shown that this state patronage is used to further certain national and international political ends and only partially for support of the tradition and its musicians. Multiple and contradictory perspectives of professional musicians, some of whom benefit from the above projects and some of whom are marginalized, will be addressed revealing a patronage system that is radically changing the traditional music of the country.

Indexing (document details)Advisor: Ellingson, TerSchool: University of WashingtonSchool Location: United States -- WashingtonKeyword(s): State patronage, Burmese, Traditional music , Myanmar,

PatronageSource: DAI-A 62/08, p. 2622, Feb 2002Source type: DissertationSubjects: Music, Cultural anthropology, Public administrationPublication Number: AAT 3022831ISBN: 9780493336916Document URL: http://proquest.umi.com/pqdweb?did=725922851&sid=6&


Traces of places: A vicarious journey into memories of the homeland in a Lao-American communityby Turpin, Leslie, Ph.D., California Institute of Integral Studies, 2004, 464 pages; AAT 3126939

Abstract (Summary) While much has been written on the adjustment of Southeast Asian refugees after the Vietnam War, little has been written on the sharing of the first generation's memory of place with their children who grew up here. There is also little written on the outside researcher's experience making meaning in a Lao-American community. This study develops a bricolage methodology to attend to both of these issues simultaneously and the paper describes the dynamic and symbiotic

50

learning that resulted from it. The author focuses on one Laotian-American community's experience and examines how, when, where, and why memories of place are passed from one generation to the next. Using the organizing concepts of ecological identity, migrating stories, and hearths and market places, the paper examines the interplay between stories told, memories practiced, and Lao folk music sung in the community. The paper is written as several stories and attempts to capture the distinct voices and experiences of the ten participants, the translator, and the researcher. The paper honors the role of heart in the research process while probing into the fictions and subjectivity resulting from the author's analysis, experience as a U.S. born daughter of a refugee, and connection to Southeast Asian American communities. The paper finds that, even in a tight community with a rich tradition of oral storytelling, the passing of memories of place is a difficult and endangered process embedded in cultural practices and language that are at risk of moving out of circulation. This paper suggests the need for future research on: (a) the dynamic passing of memories of place over time in whole families and communities; (b) the identification and revival of language and cultural practices that foster the passing of culture from one generation to the next; (c) the identification and support of intimate and public places that can house those practices; and (d) the development of bricolage methodologies that evolve in the cross-cultural meeting ground between the researcher's and participants' worlds.

Indexing (document details)Advisor: O'Fallon, TerriSchool: California Institute of Integral StudiesSchool Location:


Keyword(s): Refugees, Southeast Asia, Vicarious journey, Memories, Homeland, Lao -American , Community

Source: DAI-A 65/03, p. 1134, Sep 2004Source type: DissertationSubjects: Minority & ethnic groups, Sociology, Folklore, Families & family

life, Personal relationshipsPublication Number:

AAT 3126939

Document URL:



765815361

Latino music, identity, and ethnicity: Two case studiesby Amigo, Cristian, Ph.D., University of California, Los Angeles, 2003, 334 pages; AAT 3100710

Abstract (Summary) This dissertation concerns itself with the construction and examination of a "Latino" musical and ethnic identity in two ethnographic case studies for which fieldwork was conducted in Berkeley, California (September 2000-February 2001) and New York City (June 2001-February 2002).

In the first case study of Berkeley-based Chilean musician, composer and exile Quique Cruz, I examine the construction of his identity along ethnic Chilean lines and emphasize the continuity of Quique's musical identity in exile and diaspora. By placing Quique within historical and

51

musical/artistic contexts, I demonstrate his connection to specific critical moments, people, and institutions in Chilean history. I posit his musical life history as a "cultural document" that extends beyond the idiosyncratically personal to illuminate aspects of the relationship between the individual and culture.

I conclude the first case study with an analysis of The Archeology of Memory: Dreaming; Darkness and the Body; After the Fire...Water (TAOM), a work based on Cruz's experience of imprisonment and torture in the Chilean military's concentration camps during the 1970s. TAOM centrally concerns itself with the relationship between art and terror.

The second case study focuses on El Taller Latino Americano, a community arts center in New York City's Upper West Side. I examine the strategic and fluctuating use of a pan-ethnic, hybrid conception of "Latino" by the taller's musical community during a season of concert performances and recordings. Also, I position El Taller Latino Americano as a "social movement" in the manner described by sociologist Agustín Laó-Montes, thus placing the cultural work and existence of the taller in a larger world-historical context with New York City as the site and body of the global.

I conclude the second case study with the consideration of one of the taller's "regulars," the renowned Peruvian guitarist Carlos Hayre, an important figure in Peruvian criollo and Afro-Peruvian folkloric music. I use the genre of the marinera limeña , the national dance of Peru, to discuss its close relationship to the Chilean cueca in the New York context of Hayre's musical activities.

Indexing (document details)Advisor: Seeger, AnthonySchool: University of California, Los AngelesSchool Location:


Keyword(s): Latino, Music, Identity, Ethnicity, Quique Cruz, Taller Latino Americano, Cruz, Quique, Chile, New York City

Source: DAI-A 64/08, p. 2695, Feb 2004Source type: DissertationSubjects: Music, Cultural anthropology, American studiesPublication Number:

AAT 3100710

Document URL:



764814901

Music problem-solving strategies of five- to seven-year-oldsby Nordlund, Moya Lao , Ed.D., The University of Alabama, 1995, 106 pages; AAT 9535889

Abstract (Summary) This study examined the strategies, or reflections in action, that 5-, 6-, and 7-year-olds use in aurally reconstructing a familiar song, "Row, Row, Row Your Boat," from its chunks, or subphrases, under three conditions--rhythm only, pitch only, rhythm and pitch combined. Subjects physically and mentally manipulated the blocks into the order they liked as they listened to the chunks of music being played on an electric keyboard. All the sessions were videotaped, transcribed, and examined for patterns in children's actions and comments made while performing the tasks.

52

Twelve strategies belonging to three developmental levels were identified. Although subjects in all three age groups used it, 7-year-olds were most likely to use the most cognitively advanced strategy. Five- and 6-year-olds were able to obtain orders that agreed with the song using lower level strategies. Overall scores were higher for the combined task and increased with age.

Data suggest that cognitive advances from preoperational to concrete operational stages most likely take place between the ages of five and six, when children's strategies in musical problem solving become more diverse as well as increasingly cognitive in nature. Results indicate that 5- to 7-year-olds may have very sophisticated logic behind their constructions of musical concepts. These constructions may be more meaningful to them than those traditionally presented and accepted as correct.

Indexing (document details)Advisor: Price, Harry E.School: The University of AlabamaSchool Location:

United States -- Alabama

Keyword(s): five-year-oldsSource: DAI-A 56/06, p. 2161, Dec 1995Source type: DissertationSubjects: Music education , Preschool education, Educational psychologyPublication Number:

AAT 9535889

Document URL:



742129201

The white parasol and the red star: The Lao classical music culture in a climate of changeby Mahoney, Therese Mary, Ph.D., University of California, Los Angeles, 1995, 279 pages; AAT 9601295

Abstract (Summary) This dissertation examines the classical music culture of Laos, based on my fieldwork in Vientiane in 1991 and 1992, a time that straddles the Cold War Lao socialist era (1975-late 1980s), and the post-Cold War socialist era (late 1980s-present). My study focuses on the way the Lao classical tradition, which served a political agenda when it was enlisted by the Royal Lao government to promote a favorable national image after the Kingdom of Laos emerged from French colonial rule in 1953, has continued to serve as a tool to represent a Lao national culture during changing political climates. My dissertation identifies continuities and discontinuities in the classic tradition and suggests that they are related to changing concepts of Lao national identity, and to the use of the Lao performing arts to address the critical issue of national unity for a multicultural society. The superimposition of a socialist ideology on the Lao arts after 1975 brought about changes that included the installation of a socialist-oriented performing arts troupe in Vientiane. A portion of my study examines socialist policies towards the arts and the ongoing accommodation between the socialist and classic performing arts traditions.

Linking Anderson's concept of "imagined community," with Redfield's Great and Little Traditions dichotomy, I suggest that the official Lao performing arts serve as vehicles through which the nation can display its participation in, and construction of, selected "imagined communities." I relate the recent reinstatement and expansion of the Lao dance drama Pha Lak Pha Lam to those concepts, as well as to Hobsbawm's "reinvented traditions." The growing post-Cold War cultural

53

influences on the Lao performing arts from three hegemonic countries--Thailand, India, and Japan--are also discussed.

Thus my study adds a political dimension to theories of musical change, viewing the performing arts tradition as a symbol through which a national image is shaped and promoted, and I relate the changes and continuities in that tradition to changing political climates. I also compare changes in the Lao socialist performing arts tradition with those in other socialist or former socialist nations.

Indexing (document details)Advisor: Heth, Charlotte, Racy, JihadSchool: University of California, Los AngelesSchool Location:


Keyword(s): socialismSource: DAI-A 56/09, p. 3367, Mar 1996Source type: DissertationSubjects: Music, Cultural anthropology, History, Political sciencePublication Number:

AAT 9601295

Document URL:



741215421

Unity and diversity in the musical thought of Warring States Chinaby Cook, Scott Bradley, Ph.D., University of Michigan, 1995, 581 pages; AAT 9610102

Abstract (Summary) This study is about the musical thought of one of the most diverse and turbulent ages in Chinese history: the Warring States (Zhanguo, 475-221 B.C.) period of the Eastern Zhou dynasty. It is concerned with musical thought in two senses of the word: what the ancients thought about music--the role it played in shaping the self, society, and the natural world; and what was musical within the world of early Chinese thought itself--how beneath the constantly changing viewpoints and ceaseless argumentation among the different thinkers and schools lay an underlying continuity of concerns and an unrelenting drive toward a greater unity of philosophical outlook, like so many variations built around a single melodic theme.

Music was of vital concern to the early Chinese thinkers. Musical offerings played an important role in sacrifices to the ancestors. Musical ensembles formed an integral part of the hierarchical ritual system through which order was maintained in the feudal structure. Music constituted an important tool of the ruling class for instilling the masses with a sense of social harmony and enhancing the force of the ruler's appeal. Properly keyed music was even understood to have the power to influence the course of the natural world. And the structure of music itself informed the structure of rhetoric in subtle ways. Music thus readily became both a central topic of debate and a metaphorical agent of discussion for the various philosophers who would shape the discourse of the Warring States.

Taking the theme of music as a focal point, the purpose of this dissertation is to explore the interaction among the various philosophers of the period--to trace the course of inspiration, development, adaptation, attack, and synthesis through the entire procession of late-Chun Qiu (Springs and Autumns, 770-476 B.C.) to late-Warring States thought.

54

Works examined include: the Zuozhuan (Tso-chuan), the Guoyu (Kuo-yu), the Lunyu of Confucius, the Mozi (Mo-tzu), Lao Zi's (Lao-tzu's) Daode jing (Tao-te-ching), the Mencius, the Zhuangzi (Chuang-tzu), the Xunzi (Hsun-tzu), and Lu Buwei's (Lu Pu-wei's) Lushi chunqiu (Lu-shih ch'un-ch'iu).

Indexing (document details)Advisor: DeWoskin, Kenneth J.School: University of MichiganSchool Location:


Source: DAI-A 56/12, p. 4802, Jun 1996Source type: DissertationSubjects: Philosophy, History, MusicPublication Number:

AAT 9610102

Document URL:



742647151

Taoist ritual music of the Yu-lan Pen-hui (Feeding the Hungry Ghost Festival) in a Hong Kong Taoist temple: A repertoire studyby Tsao, Pen-Yeh, Ph.D., University of Pittsburgh, 1989, 437 pages; AAT 8921362

Abstract (Summary) Taoism is a term with several connotations. On the one hand, it refers to Dao-chia, a philosophy or school of philosophers attributed to the thoughts of the two most well-known philosophers of feudal China, Lao-zi and Zhuang-zi. On the other hand, Taoism also refers to Dao-jiao, religious Taoism. Under this second heading can be included a wide range of activities such as the self-oriented practice of lian-dan (alchemy) and meditation, and other-oriented ritual practice of exorcism and curing, and of cosmic renewal. Regardless of the purposes of these activities, they are all aimed at achieving the union between the Yang and Yin, the vital sources of energy in the universe, thus gaining eternal life and blessing from the transcendent Dao. As a major indigenous religio-philosophical tradition of China, Taoism has played an important role in the life of the people of China for well over eighteen hundred years. This present study concerns itself with the other-oriented religious Taoism, with particular interest in the music employed during its ritual activities.

The focus of this dissertation is a specific one: the repertoire of the music performed during the seven-day Yu-lan Pen-hui (Feeding the hungry ghost festival). In time, I emphasize the present-day Taoist practices and the specific seven-day period in 1987 (August 31 to September 6, or lunar 8 to 14 of the seventh month) during which a particular ritual, Yu-lan Pen-hui, took place. In space I emphasize those musical practices at a specific Taoist temple in Hong Kong, the Yuen Yuen Institute, of the Quan-zhen (Perfect Realization) sect. The objective is to collect and organize its music repertoire into a classificatory framework that sheds light into the working mechanism of how music is being manipulated under ritual circumstances. Through contextualization, this study shows that music in ritual is only one element of the total performance. In ritual, music bridges the separation between the two realms of interior prayer and exterior performance.

Indexing (document details)School: University of Pittsburgh

55

School Location:


Source: DAI-A 50/06, p. 1480, Dec 1989Source type: DissertationSubjects: MusicPublication Number:

AAT 8921362

Document URL:



747083481

"Khse Buon": Strings four (four-stringed fiddle)by Knapp, Karl D., D.M.A., The University of Wisconsin - Madison, 2005; AAT 0808607

Abstract (Summary) The Doctoral Performance and Research submitted by Karl Knapp, under the direction of Professor Parry Karp at the University of Wisconsin - Madison, in fulfillment of the requirements for the degree Doctor of Musical Arts Consists of the following:

I. Solo Recital, 21 January 2003, Morphy Hall. Suite No. 3 in C Major, BWV 1009, J. S. Bach; Sonata No. 2 in G, Ludwig van Beethoven; 1 st Rhapsody, Béla Bartók; Drei Kleine Stücke, Op. 11, Anton Webern; Sonata No. 4 in C, Ludwig van Beethoven.

II. Chamber Music Recital, 30 May 2003, Morphy Hall. Quartet in C, Op. 76, No. 3, Joseph Haydn; Piano Quintet in E-flat, Op. 44, Robert Schumann; String Quartet No. 3 in F, Op. 73, Dmitri Shostakovich.

III. Concerto Recital, 13 February 2004, Morphy Hall. Adagio con variazioni, Ottorino Respighi; Concertino for Cello in G Minor, Op. 132, Sergei Prokofiev; Schelomo: Hebraic Rhapsody, Ernest Bloch.

IV. Chamber Music with Piano Recital, 4 June 2004, Morphy Hall. Piano Trio in F Minor, Op. 65, Antonin Dvorák; Piano Trio in C Minor, Op. 66, Mendelssohn.

V. Lecture Recital, 2 March 2005, Morphy Hall. " Khse Buon by Chinary Ung". This lecture recital consists of a discussion of the life of Chinary Ung, an analysis of his composition Khse Buon for solo cello and a performance of the work.

VI. Final Solo Recital, 8 August 2005, Oakwood Village Auditorium. Suite No. 4 in E-flat Major, BWV 1010, J. S. Bach; Sonata No. 5 in D Major, Op. 102, No. 2, Ludwig van Beethoven; Concerto in B Minor, Op. 104, Antonin Dvorák.

VII. Written Project. " Khse Buon : Strings Four (Four Stringed Fiddle)". This project is a study of the composition Khse Buon by Chinary Ung including the background of the composer, history of the work, and performance issues.

Indexing (document details)School: The University of Wisconsin - MadisonSchool Location:

United States -- Wisconsin

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Keyword(s): Four-stringed fiddle, Chinary Ung, Ung, Chinary, Khse Buon, Cello, Cambodia

Source: DAI-A 66/12, Jun 2006Source type: DissertationSubjects: Music, BiographiesPublication Number:

AAT 0808607

Document URL:



1051247951

Programmatic elements in selected post-1950 works for solo oboeby Robuck, Alison Marie, D.M.A., University of Illinois at Urbana-Champaign, 2004, 117 pages; AAT 3131016

Abstract (Summary) Programmatic content and associated instrumental idioms are examined in four works for solo oboe: Benjamin Britten's Six Metamorphoses After Ovid , op. 49, Henri Tomasi's Évocations , Tina Nicholson's Moments from Women , and Helmut Schmidinger's Vier gefiederte Worte des Odysseus . In their programmatic content these compositions refer to literature, ethnologies, and the characterization of diverse personalities. Idiomatic qualities of the oboe, such as articulation, tone color, vibrato, multi-phonics, instrumental range, dynamic variance, and inherent lyricism, are used to convey the programmatic content.

Excerpted text from Ovid's Metamorphoses and the interpretations of Ovid scholars are used to analyze Benjamin Britten's Six Metamorphoses After Ovid , op. 49. Henri Tomasi's representation of four women from Peru, Nigeria, Cambodia, and Scotland in Évocations is examined in relation to musical traditions of each country. The six movements of Tina Nicholson's Moments from Women , representing personalities of various women, are examined with assistance from an interview with the composer. Excerpted text from Homer's The Odyssey and Helmut Schmidinger's compositional ideas support this analysis of Vier gefiederte Worte des Odysseus . An annotated select bibliography of other programmatic works for solo oboe is provided in an appendix.

Indexing (document details)Advisor: Hopkins, ChristopherSchool: University of Illinois at Urbana-ChampaignSchool Location:


Keyword(s): Programmatic music, Benjamin Britten, England, Henri Tomasi, France, Tina Nicholson, Helmut Schmidinger, Austria, Britten, Benjamin, Tomasi, Henri, Nicholson, Tina, Schmidinger, Helmut, Post-1950, Solo oboe

Source: DAI-A 65/04, p. 1174, Oct 2004Source type: DissertationSubjects: MusicPublication AAT 3131016

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Number:

Document URL:



765938401

Sounding the spirit of Cambodia: The living tradition of Khmer music and dance-drama in a Washington, D.C. communityby Pecore, Joanna Theresa, Ph.D., University of Maryland, College Park, 2004, 487 pages; AAT 3114720

Abstract (Summary) Since the Khmer Rouge takeover of Cambodia in 1975, the desire to preserve, reconstruct, and document Khmer performing arts has motivated many important projects that aim to strengthen these traditions worldwide. These projects typically focus on dance and promote the notion that authenticity is linked with ethnicity and the geographical designation, Cambodia. This presentation stands in stark contrast to the reality of the devoted activities of living artists who keep these traditions alive across the globe. Additionally, Khmer music usually exists as an audible yet forgotten soundtrack to these projects. When it is recognized, listings of instruments, descriptions of musical structure, names of ensemble types, and pages of notation (that many Khmer musicians themselves cannot read) frequently overshadow its human dimensions. Major chasms divide current scholarship from musical practice.

To help bridge these gaps, this dissertation takes readers on a visit to a community that lives and breathes Khmer music and dance-drama today in the Washington, DC area. It explores the experience of more than forty individuals who participate in the activities of Cambodian American Heritage in Virginia and the Cambodian Buddhist Society in Maryland. Ethnographic "sound-spheres"--constructed from interviews, conversations, and observations--join their stories. A bifocal lens--including the experience of the author as a music student and that of her teacher, master musician, Ngek Chum--organizes the "sound-spheres." They are arranged according to "four concentric worlds of musical meaning" (musical experience, local community, the United States, and the world) that illuminate the dual reality of historical, geographical, political, economic, social, and cultural change and the enduring timeless, placeless essences of the tradition.

This collective story illustrates the fundamental role that music (especially pin peat ) plays in linking contemporary residents of the Washington, DC area to the spirit of an ancient, distant Cambodia. It demonstrates how Khmer music: (1) unifies sound, movement, story, and social interaction, (2) embodies cultural ideals that resonate across Buddhism, transmission processes, and performance, (3) retains lessons about the continuity of life and exceptional conduct, and (4) balances personal with group needs.

Indexing (document details)Advisor: Robertson, Carol E.School: University of Maryland, College ParkSchool Location:

United States -- Maryland

Keyword(s): Washington, D.C., Virginia, Maryland, Cambodia, Living tradition, Khmer, Music, Dance-drama, Community

Source: DAI-A 64/12, p. 4267, Jun 2004Source type: DissertationSubjects: Music

58

Publication Number:

AAT 3114720

Document URL:



765152151

Arthur Carraway and Houston Conwill: Ethnicity and re-Africanization in American artby Jeffries, Rosalind Robinson, Ph.D., Yale University, 1992, 399 pages; AAT 9314822

Abstract (Summary) This dissertation is a vital contribution to the area of art history precisely because of limited quantitative and qualitative case studies that document the relationship of African American artists born in the United States to their African legacy. The very process of creating within an ethnic context is outlined. The art of Arthur Carraway and Houston Conwill become so functional that they are viewed as shamen. Detailed biographical data showing developmental phases and interaction with family, environment and viewers is important. The period of analysis is limited, 1950s to 1980s.

Arthur Carraway uses Kongo n'kisi formulas and Ghanaian adinkra symbols to speak about both African and American issues. He lived in traditional mud and thatch dwellings in the north and collected antiquities for the Ghana National Museums and Monuments Board. Carraway was in Zaire during the time of President Patrice Lumumba. A study of the artist's n'kisi kondi images created in the United States reveals functional information on the use of these statues in Zaire and also significant parallels to the folk culture of Carraway's native Texas: bottle tree n'kisi to jazz inspired n'kisi; and U.S. soldier-in-war n'kisi, Korea, Vietnam, Cambodia.

Houston Conwill uses Khmetic (Egypt/Sudan), Dogon, Yoruba, and Kongo symbols to create a personal gospelscript and bluescript, comparable to Haitian vevey. Cuban anaforuana and Brazilian language codes. Conwill's early petrographs were psychograms that functioned in performance art and environments to heal, educate and inspire. Multi-media presentations included drama, music, poetry and ritual. This time period coincided with Alex Haley's Roots, and a quest to reclaim genealogy, culture and history. Conwill, a former catholic monk, fuses Biblical symbols with African traditional formulas to highlight the sacred or profane. He aimed to demystify meaningless tradition, reveal banal superstitions, and uncover eternal truths. Truths transform individuals and nations. Art in public places include earthworks, airports, subways, parks and libraries. Juju aesthetics do not die, but transform into modern computer-like aesthetics, with coded demographics of Black history and personalities. Conwill eventually amalgamates into artist collectives. Carraway continues more individual presentations of the aesthetic of language which he terms Afro-dialectics.

Indexing (document details)School: Yale UniversitySchool Location:


Keyword(s): Carraway, Arthur, Conwill, HoustonSource: DAI-A 54/01, p. 6, Jul 1993Source type: DissertationSubjects: Art History, African Americans, BiographiesPublication Number:

AAT 9314822

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Document URL:



746279121

Khmer traditional music in Washington, D.Cby Giuriati, Giovanni, Ph.D., University of Maryland Baltimore County, 1988, 506 pages; AAT 8817212

Abstract (Summary) The dissertation studies Khmer music as it is performed by the musicians of the Khmer Classical Dance Troupe refugeed in Washington, D.C. Khmer music was scarcely studied in the past, and its study become more urgent after the prolongued war, the genocide by the Khmer Rouge regime, and the mass migration that Khmer people suffered in the last two decades. The dissertation studies Khmer music as well as the process of acculturation generated by its transplantation in the United States. The research was conducted during about three years of fieldwork with musicians who used to be professional or semi-professional in Cambodia, and it is based mainly on data gathered from Chum Ngek, a professional musician with a deep knowledge of Khmer musical tradition. The study of the music is based on a collection of 80 pieces representative of the genres pinpeat, mohori, phleng Khmer, and ayai. The analysis shows a tuning system of seven non-equidistant tones, a modal system with different pitch-levels linked to genres and repertoires, a practice of improvisation based on implicit 'abstracted melodies' on which all performers improvise at the same time with specific instrumental idioms. Function of Khmer music in the United States is gradually changing in space limitation, time perception, repertory, interaction performer-audience. From the traditional function of necessary element to perform a ritual that music has in Cambodia, in the United States Khmer music is acquiring more and more the function of providing identity for the Khmer community in the multicultural American society. At the same time, music maintains the function of accompanying the traditional rituals of the Khmer community. In reaching a balance, and in being capable to cover both functions, lies the strength and the survival of Khmer traditional music in Washington, D.C.

Indexing (document details)Advisor: Hood, MantleSchool: University of Maryland Baltimore CountySchool Location: United States -- MarylandSource: DAI-A 49/07, p. 1616, Jan 1989Source type: DissertationSubjects: MusicPublication Number: AAT 8817212Document URL: http://proquest.umi.com/pqdweb?did=743942981&sid=8&


The pin peat ensemble: Its history, music, and contextby Sam, Sam-Ang, Ph.D., Wesleyan University, 1988, 450 pages; AAT 8919968

Abstract (Summary) Khmer music historiography is inadequate, for Cambodia lacks a music historian or an ethnomusicologist to write a comprehensive history of Khmer music. Moreover art, particularly

60

music, is a low priority comparing to other domaines, such as politics. When one writes history, he writes a political history. The old cliche "country must be first, before art can be practiced" has echoed unceasingly throughout the centuries, and continues to hold true today. In fact, alongside with politics, art and culture must survive and play a vital part in the venture to restore and rebuild our nation.

The pin peat ensemble is chosen for this study because of its versatility and utility in a wide range of Khmer community activities, yet less popular and most endangered form. The present study attempts to pinpoint various sources which have been responsible for the emergence of the full-fledged pin peat ensemble. I wish to present less a history showing all the details than a synthesis demonstrating how the various elements of the history of Khmer music are related.

The research is intended to clarify ideas about Khmer music by looking at an important and very old ensemble. The music will be viewed according to how it is taught through oral tradition as a complete musical system and a meaningful form of expressive art.

Five major issues are intended to be addressed: (1) the history, origin, and development of the pin peat, including documentary evidence on Khmer bas-reliefs, existing music, and written and oral histories; (2) the socio-musical role of the pin peat in older and more modern settings; (3) the pin peat musical characteristics and repertoire; (4) the contexts in which the pin peat is used and the musical aspects of each context; and (5) recent developments as the result of political shifts in Cambodia and among immigrants in the United States of America and elsewhere.

The data for this study are drawn from source readings, recordings, video tapes and films, interviews, and most of all, my own knowledge and experience as a practitioner of Khmer music. My research includes two field trips to France (1984, 1987), three trips to Thailand (1986, 1987, 1988), and several trips to various libraries in the United States.

Indexing (document details)School: Wesleyan UniversitySchool Location:


Source: DAI-A 50/06, p. 1478, Dec 1989Source type: DissertationSubjects: MusicPublication Number:

AAT 8919968

Document URL:



747050441

EARTH IN FLOWER: AN HISTORICAL AND DESCRIPTIVE STUDY OF THE CLASSICAL DANCE DRAMA OF CAMBODIA (RITUAL)by CRAVATH, PAUL RUSSELL, Ph.D., University of Hawai'i, 1985, 684 pages; AAT 8629034

Abstract (Summary)

61

This study was undertaken to document the history and performance style of the former Royal Ballet of Cambodia. Dissertation research included field work in Phnom Penh and Bangkok in January-August 1975, library research at the University of Hawaii, and interviews with refugee dancers in the United States. Personal observation of performance and scrutiny of earlier French studies supplement a view of the dance drama within a broad cultural framework.

The thesis examines the evidence for pre-Angkorean ritual dance; sculptural and epigraphical evidence of dance at Angkor (A.D. 802-1431); dance under the authority of each ruler from 1860 to the present; the mythological foundation of the dance; the nature of the performance repertoire in this century; dancer training, costumes, and life style; music and choreography; and the traditional ritual function of the dance. The thesis applies the "new" interpretation of Southeast Asian history posited by Wilhelm Solheim and others to an understanding of early Cambodian culture and presents a Jungian interpretation of the mythology underlying the dance drama itself.

The thesis rejects the orthodox view of an historical "Indianization" of Southeast Asia in favor of emphasizing a continuity of indigenous cultural forms and rituals from pre-Angkorean times. A Feminine-centered mythology, discernible in the performance repertoire and in early Chinese accounts of the area, suggests that the tension between Feminine and Masculine--cosmically, architecturally, and socially--was viewed as the source of continued fertility, and the royal dancers traditionally acted as a ritual conduit to the nurturing energy of natural and ancestral spirits.

This ritual power of the dancers lent great authority to Sihanouk who exploited it for political gains against the French and to gain favor on numerous international tours, during which the dancers came to be recognized as one of the most refined performance troupes in Asia.

The ultimate purpose of the thesis is to analyze the nature of the dancers' mysterious elegance and their historical, ritual, political, and aesthetic power in traditional Cambodia.

Indexing (document details)School: University of Hawai'iSchool Location:


Source: DAI-A 47/08, p. 2803, Feb 1987Source type: DissertationSubjects: Theater, Cultural anthropologyPublication Number:

AAT 8629034

Document URL:



749086331

Musical exchange in early Southeast Asia: The Philippines and Indonesia, ca. 100 to 1600 CEby Nicolas, Arsenio Magsino, Jr., Ph.D., Cornell University, 2007, 365 pages; AAT 3254641

Abstract (Summary) This dissertation is an investigation of the musical exchanges and relations between Indonesia and the Philippines before 1600. It is a construction of a history of music in Java and Bali from circa

62

100 to 1600 CE, and from this construction, a history of music in pre-1600 Philippines is inferred. This period coincides with the development of extensive maritime trade exchange in Asia, the rise of early kingdoms and polities, the appearance of writing, the construction of Hindu and Buddhist monuments and temples, and the first decades of contact with Europe.

Evidence of musical exchange is presented by organizing different chronologies based on the archaeology of bronze drums, on musical data found in Old Javanese and Old Balinese inscriptions, on musical illustrations in temple bas reliefs in Java, and excavated gongs, bells and cymbals in shipwrecks and land sites in maritime routes along the coasts of Indonesia, Malaysia, Thailand and the Philippines. Secondary materials are drawn primarily from written sources, including Chinese documents, Old Javanese, Tagalog, Spanish and Dutch dictionaries and recent ethnomusicological and anthropological studies relevant to the historical period in question.

Several types of musical instruments held in common between Indonesia and the Philippines are given extensive analysis, focusing on similar names of musical instruments, with a particular emphasis on flat gongs and bossed gongs. Other musical instruments considered are slit drums, xylophones, double-headed drums, flutes and two-stringed lutes.

In music cultures without any written traditions, the processes of musical exchange are more elusive to conceive of, even harder to define, and much more so, to track down. Where no written texts are available, the position and significance of archaeological, linguistic and ethnographic data becomes primary. This study further examines the various parameters of musical exchange in the emergence of an extensive maritime culture that cuts across the islands of the Philippines and Indonesia from at least the first century or earlier up to the early decades of contact with Europe in the sixteenth century. What is central to the study is the cognizance of the fact that musical exchange was flourishing within a larger system of trade and network alliances in the region, across long distance trade routes stretching from China to India and the Mediterranean.

Indexing (document details)Advisor: Hatch, MartinSchool: Cornell UniversitySchool Location:


Keyword(s): Musical exchange, Southeast Asia, Philippines, Indonesia, Malaysia, Thailand, Maritime trade, Inscriptions

Source: DAI-A 68/03, Sep 2007Source type: DissertationSubjects: Archaeology, History, MusicPublication Number:

AAT 3254641

Document URL:



1303295481

A survey of the current status and practices of piano teachers in Penang, Malaysia: Prepration for the practical piano examinations of the Associated Board of the Royal Schools of Music, Londonby Tye, Jason Kong-Chiang, D.M.A., University of South Carolina, 2004, 146 pages; AAT 3157191

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Abstract (Summary) The primary purpose of this study was to determine the current status of piano instruction in Penang, Malaysia and to explore the influence of a uniquely British tradition of music exams in a pluralistic and postcolonial Malaysian society. Private piano education in Malaysia is essentially peripatetic and is primarily dominated by foreign music examination boards. Despite achieving its independence since 1957, the vestiges of British colonialism is still very apparent, permeating all spheres of cultural life including the private music education milieu.

Central to this research was an investigation of the extant influence of the world's largest music examination board, The Associated Board of the Royal Schools of Music (ABRSM) on the instructional practices of piano teachers in Penang. ABRSM, together with five other major music boards have played a vital role in the propagation of music examinations in Malaysia. Consequently, these examinations have by far become the primordial indicator of success in the process of music learning and teaching. This curious form of modus operandi in music education has perpetuated an examination-oriented culture that views music lessons as synonymous to music testing.

To facilitate the study of the current status of piano instruction, a survey was conducted on a random sample population of 100 piano instructors in Penang. Teachers were asked to identify their instructional practices and choice of teaching materials as they prepare students for entry into the ABRSM practical examination. The objectives and requirements of ABRSM's practical examinations beginning from the Preparatory Test to the FRSM level were expounded and discussed. The survey also attempted to determine the existence of any discrepancies between the objectives of the Associated Board in providing quality music assessment and the teaching approaches used by piano instructors in preparing their students for these music examinations.

The findings of the study revealed that a majority of piano teachers do not adopt effective pedagogical approaches in their teaching practice. This scenario in Penang's private music teaching arena is attributed to a myriad of factors, ranging from the lack of professional development support and resource of teaching materials to an educational system that substantially depends on examination results as an all-encompassing measure of musical achievement and development.

Indexing (document details)Advisor: Price, ScottSchool: University of South CarolinaSchool Location:

United States -- South Carolina

Keyword(s): Penang, Malaysia, Practical piano examinations, Associated Board of the Royal Schools of Music , Piano

Source: DAI-A 65/12, p. 4503, Jun 2005Source type: DissertationSubjects: Music education , MusicPublication Number:

AAT 3157191




845709601

Incorporating a student's native folk music in piano

64

teaching: A survey and original piano arrangements of traditional Malaysian folk musicby Lim, Pei Sien, D.M.A., West Virginia University, 2004, 63 pages; AAT 3156338

Abstract (Summary) Piano teachers have a unique opportunity to introduce young children to the folk music of their country, thereby providing these students with a link to their cultural heritage. Since a recent search revealed a lack of Malaysian folk music collections arranged specifically for elementary and early-intermediate piano students, this research paper includes twelve original arrangements of traditional Malaysian folk music which are suitable for use with elementary and early-intermediate piano students in Malaysia and other countries. This paper also provides piano teachers an introduction to folk music from different parts of the world (especially from the Far East), thereby helping and encouraging them to incorporate folk music from all cultures in their piano teaching.

This research paper is organized into four chapters. Chapter I serves as an introductory chapter to this research paper. Chapter II is divided into two parts; part one provides a review of scholarly books, articles and dissertations, while part two reviews collections of music, including method books and supplementary books for elementary to early-intermediate pianists. Chapter III includes twelve original arrangements of traditional Malaysian folk music, and a brief discussion related to each arrangement. A midi sound file is included for each piano arrangement. Chapter IV provides a summary, conclusions, and suggestions for further research.*

*This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.

Indexing (document details)Advisor: Miltenberger, JamesSchool: West Virginia UniversitySchool Location:

United States -- West Virginia

Keyword(s): Native folk music , Piano, Malaysian, Folk music Source: DAI-A 65/12, p. 4394, Jun 2005Source type: DissertationSubjects: Folklore, Music, Music education Publication Number:

AAT 3156338




845707051

Malaysia, South Africa and the marketing of the competition state: Globalization and states' responseby van der Westhuizen, Janis (Johannes Erasmus), Ph.D., Dalhousie University (Canada), 1999, 247 pages; AAT NQ49296

Abstract (Summary)

65

By analyzing how intermediation processes, state strategies and the structure of the international political economy interact, this study analyses how state elites in Malaysia and South Africa attempt to minimize the socially disruptive effects of globalization. Drawing on the competition state model, the case is made for societal corporatism in South Africa and patron-client rentierism in Malaysia as vital intermediation processes, whereby the cross-pressures generated by international expectations and domestic demands are managed, thereby facilitating the transformation towards the competition state model in ethnically deeply divided societies.

Apart from highlighting the similarities and differences between the Malaysian and South African political economies, this study also introduces the significance of marketing power as a particular competition state strategy whereby state elites appropriate the global visibility of the domestic film and popular music and especially sport industries to both externally "market" the country and internally reinforce a sense of national identity. By directing attention to the adaptability of the state (and its associated economy and civil society) to the challenges of globalization, this study underscores the extent to which the state is both a vehicle of globalization and is itself reconstituted by it.

Indexing (document details)Advisor: Shaw, Timothy M.School: Dalhousie University (Canada)School Location:

Canada

Keyword(s): Malaysia, South Africa, Competition state, GlobalizationSource: DAI-A 61/05, p. 2024, Nov 2000Source type: DissertationSubjects: Political sciencePublication Number:

AAT NQ49296




731886351

Negotiation of identity as theme and variation: The musical art of dondang sayang in Melaka, Malaysiaby Amend, James Marshall, Ph.D., The Florida State University, 1998, 583 pages; AAT 9836069

Abstract (Summary) This is a study of relationships between music and identity in Melaka, a major urban center on the west coast of Peninsular Malaysia. There are three primary ethnic communities in Melaka, consisting (in order of size) of Malays, Chinese, and South Indians; there are additionally several small subgroups within these larger groupings as well as small contingents of Europeans and other Asians. Two of the important smaller groups mentioned in the course of this study are the Peranakan Chinese, also known as Babas and Nyonyas, and the Portuguese, descendants of unions between local Malay women and the Portuguese sailors who conquered Melaka in 1511.

In particular, this study focuses on individuals and groups who are involved with dondang sayang, a genre of sung poetry improvised to a fixed melodic formula with ensemble instrumental accompaniment, in a professional capacity, and relates their musical activities to the underlying social, psychological, economic, cultural, and political forces that determine identity in the city of Melaka.

66

The tension between dondang sayang's former function as social custom and its present government-appropriated role as a performance genre emblematic of Melakan/Malay/Malaysian identity is of special concern. In connection with this, the genre's continued existence as a "stereotypical" art form dependent on government sponsorship is discussed as of primary concern for both the musicians and the audiences who experience it.

Dondang sayang is discussed extensively as music in conjunction with its special relationship with the poetic quatrain form of pantun, a form of Malay poetry with a musical tradition dating back to the first royal Malay court of Melaka; through this association it represents an important identity marker of "traditional" Malay identity. It also connects to the Peranakan Chinese people, because of their adoption and adaptation of dondang sayang for their own purposes and occasions, a prime example of the "catalyst" function of music in identity. For these reasons, dondang sayang serves as a "border" (separator) and as a "bridge" (connector) between Melakan communities.

Indexing (document details)Advisor: Olsen, Dale A.School: The Florida State UniversitySchool Location:


Source: DAI-A 59/05, p. 1384, Nov 1998Source type: DissertationSubjects: Music, Cultural anthropologyPublication Number:

AAT 9836069




738017211

Musical experience from an Islamic perspective: Implications for music education in Malaysiaby Tahir, Ramona, Ph.D., Northwestern University, 1996, 316 pages; AAT 9714695

Abstract (Summary) Despite the rich musical traditions and popularity of music in all Islamic cultures, there is widespread belief by Muslims that music is forbidden in Islam and should be avoided by them. A debate concerning the position of music in Islam has, in fact, existed for centuries, and centers upon the question of whether music is permissible (halal) or forbidden (haram). The purpose of this dissertation was to investigate the position of music in Islam and the extent to which the controversy regarding music in Islam has effected music education in Malaysia, with the hope that increased awareness of the relevant issues will contribute to a better situation for music in Malaysian schools as well as the development of a quality music education for all Malaysians.

A two-fold strategy was employed for the purpose of investigating the study's research questions. First, a review of literature was conducted to clarify the concept of music and musical experience in Islam. The major elements and issues relevant to the position of music in Islam were discussed according to six themes. Second, two interview sessions were arranged with twelve individuals both directly and indirectly involved with music education in Malaysia to obtain their opinions and insights concerning music in Islam and music education in Malaysia. Based on these findings, proposed principles and guidelines for music education in Malaysia consonant with Islamic principles were presented.

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Some of the important conclusions drawn in this dissertation include: (1) music education is permissible provided that it occurs in contexts and under conditions sanctioned by Islam; (2) there is a need for an alternative term for "music" because of its negative connotations in the Islamic world; (3) music education in Malaysia should promote musics which are approved by Islam; and (4) all concerned with music education in Malaysia need to be united and focused in their mission if a music education which is consonant with Islam is to exist in Malaysia.

Indexing (document details)Advisor: Reimer, BennettSchool: Northwestern UniversitySchool Location:


Source: DAI-A 57/11, p. 4684, May 1997Source type: DissertationSubjects: Music education , Religious education, MusicPublication Number:

AAT 9714695




739560061

Regional cooperation in mass communication development: The prospect for ASEANby Ahmad, Mansor Bin, Ph.D., University of Minnesota, 1995, 452 pages; AAT 9521532

Abstract (Summary) ASEAN is the acronym for the Association of Southeast Asian Nations, a cultural and economic grouping of six non-communist countries consisting of Brunei, Indonesia, Malaysia, the Philippines, Singapore, and Thailand. Except for Brunei, which joined the Association in 1984, the other five countries are founder-members since 1967.

Efforts toward cooperation in mass communication development in Asia had been initiated since the days before the formation of ASEAN. In fact, Asia-wide rather than ASEAN-specific regional cooperation in mass communication development is more noticeable, especially in the field of information exchange and journalistic training.

Of all the cooperative efforts in mass communication development in ASEAN, perhaps ANEX--the ASEAN News Exchange program--gave the greatest promise. It was established with the hope of improving the intra-regional information flow within ASEAN.

ANEX was launched in June 1980 linking Antara of Indonesia, Bernama of Malaysia, and the Philippines News Agency. Less than a year later, in 1981, the Thai News Agency joined the exchange. Singapore and Brunei did not participate in the exchange program of the news agencies of the four nations because they did not have their own news agencies.

Twenty years after the formation of ASEAN, the six heads of government in the Association gathered in Manila of their third summit meeting. Having reviewed their successes and failures in the two decades of regional cooperation among their countries, the heads of government of Brunei, Indonesia, Malaysia, the Philippines, Singapore, and Thailand signed the Manila

68

Declaration in December 1987 stating their aspirations for greater efforts in promoting the cooperation and cohesion of their region.

There has also been some bilateral cooperation in the field of electronic media, especially in radio broadcasting, since the early days of ASEAN, but it has not developed to any significant level. There have been, for example, radio hook-ups for request programs between Radio Malaysia and Radio Republik Indonesia. There have also been ASEAN film festivals and ASEAN music and song festivals.

Indexing (document details)Advisor: Lindsay, RobertSchool: University of MinnesotaSchool Location:


Keyword(s): Brunei, Indonesia, MalaysiaSource: DAI-A 56/03, p. 745, Sep 1995Source type: DissertationSubjects: Mass media, HistoryPublication Number:

AAT 9521532

Document URL:



742726401

Songs of honor, words of respect: Social contours of Kenyah Lepo' Tau versification, Sarawak, Malaysiaby Gorlinski, Virginia K., Ph.D., The University of Wisconsin - Madison, 1995, 556 pages; AAT 9535082

Abstract (Summary) The results of eighteen months of ethnomusicological field research on versification among the Kenyah Lepo' Tau of Sarawak, Malaysia form the basis of this dissertation. The work offers an account of the structural and structuring elements of the Lepo' Tau verse, and demonstrates that, in the analysis and interpretation of vocal performance, the structural features--whether musical, textual, or contextual--can neither be considered independently of each other, nor can they be divorced from the structuring forces of conventions, aesthetics, and ideals of social interaction that obtain within the community that maintains the tradition. The study is also intended to provoke re-evaluation of certain theoretical approaches that focus on the writer, the written, and the non-reading community. By examining local social-interactional ideals as a primary filter of the writer's "raw" data, conceptual (i.e., unwritten) canons of repertoire as informed by aesthetics of social interaction, the social and spiritual significance of "oral-formulaic" (as opposed to literate) composition, and the ethical legitimacy of the contemporary ethnographic paradigm of the "diverse" rather than the "homogeneous" account, this dissertation aims to dislodge what often seems an entrenchment in the literate, the literary, and literacy in all kinds of ethnograghic endeavor.

The first chapter addresses strictly theoretical issues, while the second provides a historical account of Sarawak Lepo' Tau migrations, interactions with neighboring peoples, and religious orientations. The third chapter treats the structure of versification in terms of its social and spiritual significance for the Lepo' Tau. Chapter Four concerns various ways of versifying. The fifth and sixth chapters delineate the means by which repertoire is grouped and evaluated, as well as the expression of identity and establishment of relationship through song. Chapter Seven highlights a

69

single performance of the sung narrative, kerintuk "Sinan La'ing." A complete original-language transcription of the performance is included in the Appendices. The final chapter summarizes the salient features of Kenyah Lepo' Tau versification in Sarawak and the implications of this material for the theoretical approaches outlined in the initial pages of the work.

Indexing (document details)Advisor: Sutton, R. AndersonSchool: The University of Wisconsin - MadisonSchool Location:


Keyword(s): Kenyah Lepo' Tau, BorneoSource: DAI-A 56/08, p. 2927, Feb 1996Source type: DissertationSubjects: Music, Cultural anthropology, FolklorePublication Number:

AAT 9535082

Document URL:



741058931

Music, identity, and the impact of tourism in the Portuguese Settlement, Melaka, Malaysiaby Sarkissian, Margaret Lynne, Ph.D., University of Illinois at Urbana-Champaign, 1993, 337 pages; AAT 9329154

Abstract (Summary) "Historical Melaka," a key theme in Malaysia's most rapidly expanding industry--tourism--is dominated by the romantic picture of adventurous Portuguese seafarers who arrived in 1511, were captivated by local beauties, and left a human legacy that has survived against all odds. In this dissertation, I examine how a distinct Portuguese community has, in fact, been constructed over the last half century and how its members have manipulated their "rediscovered" cultural identity only after being relocated from an ethnically mixed hamlet by colonial administrators concerned with preventing their imminent assimilation.

Simultaneously, with independence looming, upper-class Eurasians attempted to distance themselves from their adopted British roots. For them, Portuguese identity also proved an acceptable compromise: it had historical legitimacy, yet, by association with the "poor Settlement fisherfolk," was acceptable within the emerging nation. The chance visit of a Portuguese government minister provided an occasion to display their new affiliation publicly. Portuguese folk music and dances learned from a book were performed in his honor.

As the Settlement community blossomed and engulfed the upper class, the adopted dance groups proliferated at the expense of older hybrid musical genres. "Cultural groups" became a politically acceptable means of stating ethnic difference within the nation. Their contribution to the burgeoning tourist economy has led to many improvements, including increased visibility as a national minority. The groups have now become so entrenched within the community that young people, like the tourists, consider their music and dance to be "traditional."

Through tourism, the Settlement has become a forum within which diverse messages compete and speak simultaneously to different audiences, constituting a potential opportunity that the government--adept at manipulating all kinds of symbols in the process of nation building--has been quick to exploit. Viewed in this light, the government's marketing of the Portuguese Settlement

70

becomes a clear attempt to convert it from a rather unusual housing estate into an historical monument. Promoting the Settlement under the guise of tourism, the government has covertly coopted it for political gain, symbolically displaying their power over exoticized, make-believe Europeans.

Indexing (document details)Advisor: Capwell, CharlesSchool: University of Illinois at Urbana-ChampaignSchool Location:


Source: DAI-A 54/06, p. 1997, Dec 1993Source type: DissertationSubjects: Music, Cultural anthropology, Dance, RecreationPublication Number:

AAT 9329154

Document URL:



747731641

A survey of shadow play in the Malaysian traditional shadow puppet theatreby Osnes, Mary Beth, Ph.D., University of Colorado at Boulder, 1992, 208 pages; AAT 9304591

Abstract (Summary) The Wayang Kulit, shadow puppet theatre of Malaysia is a mesmerizing combination of intricately designed rawhide puppets casting shadows on a screen, the hypnotic music of the live orchestra and the puppet master dramatizing a tale from one of the great Hindu epics, the Ramayana or the Mahabharata. The medium of shadow play within this traditional form works as a nearly perfect metaphor for how the Malaysian village people view their relationship with the spiritual forces.

There are many elements that work in cooperation with the element of shadow play in the traditional shadow puppet theatre of Malaysia. The construction and design of the puppets communicates much necessary information regarding the character's identity, status and disposition. The conventions for this tradition performance, including the physical setting, structure of the performance and musical, all communicate vast amounts of information that progress the story in an efficient and richly varied manner. The puppet master is the sole director of the event, leading the orchestra, telling the story through song, dialogue and narration and manipulating all the puppets.

The shadow images of the great Hindu epic characters are free to swoop into action, disappear in a flash and grow to huge looming shadows filling the screen. The medium of shadow play is a dynamic tool for bringing the living images of the gods down to earth.

Indexing (document details)Advisor: Knaub, RichardSchool: University of Colorado at BoulderSchool Location:

United States -- Colorado

Source: DAI-A 53/10, p. 3412, Apr 1993

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Source type: DissertationSubjects: Theater, Cultural anthropology, FolklorePublication Number:

AAT 9304591

Document URL:



745447811

The Zapin Melayu dance of Johor: From village to a national performance traditionby Md Nor, Mohd Anis, Ph.D., University of Michigan, 1990, 358 pages; AAT 9034481

Abstract (Summary) The purpose of this study is to examine the historical evolution and transformation of a particular Malay dance genre from a regional into a national dance form. The research focuses on the Zapin Melayu dance of Johor, the southern-most state of Peninsular Malaysia bordering Singapore. In Johor, the Zapin dance is found in two different forms; one is recognized as the Zapin Melayu (Malay Zapin), the other as Zapin Arab (Arab Zapin). Zapin Melayu originated as a result of cultural adaptation and assimilation with Zapin Arab. Zapin Melayu shares similar performance styles with the Zapin of Sumatera, Singapore and the Riau Islands.

The regional elements of Zapin Melayu, however, were incorporated into Malay popular culture after the turn of the twentieth century. The processes of change through which Zapin Melayu was integrated into the national popular culture transformed the genre into a newer dance tradition known as the National Zapin. The transformation of Zapin Melayu into the National Zapin brought about structural changes in the dance performance. From a participatory and flexible village form, the dance genre was transformed into a more rigidly stylized form of expression. The emergence of the National Zapin from the tradition of Zapin Melayu illuminates not only the evolution of a genre of performing art but also the way in which Malay performance identity is being reformulated and redefined through the introduction of "alien" elements.

Both Zapin traditions are still performed today. The Zapin Melayu, although declining in popularity, is still performed in the villages in Johor. The National Zapin on the other hand has become a popular folk dance tradition and is today performed not only in Malaysia but also in southern Thailand and Singapore.

Indexing (document details)Advisor: Becker, Judith O., Lieberman, VictorSchool: University of MichiganSchool Location:


Keyword(s): MalaySource: DAI-A 51/07, p. 2193, Jan 1991Source type: DissertationSubjects: Music, Theater, Cultural anthropologyPublication Number:

AAT 9034481


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744066801

Balinese gender wayang performance technique: A pedagogical system for the non-Balinese scholarby Squance, Rod Thomas, D.M.A., University of Miami, 2007, 124 pages; AAT 3267728

Abstract (Summary) Balinese gender wayang (shadow play music) performance technique was investigated using information acquired through traditional oral transmission. This information was confirmed by analysing video footage of the Balinese gender wayang master, Bapak I Wayan Loceng, of the village of Sukawati, Gianyar district, Bali, Indonesia, who passed away in 2006.

Preliminary performance issues were examined including instruments, mallets, performance setting, seating and posture, and mallet grip. Gender wayang playing technique was examined in terms of physical movements, which were organized into categories including the basic stroke, basic dampening, interval movements, special techniques and mallet trajectory. This was done by analysing transcriptions of traditional repertoire. Technical categories were ordered according to a logical pedagogical progression.

Balinese music pedagogy was investigated, including traditional maguru panggul (teaching with the mallet) pedagogy, Loceng's adaptations to traditional Balinese pedagogy, and recommendations for gender wayang pedagogy outside Bali. Issues of transcription and notation were investigated. The polos part of the traditional piece, Tulang Lindung, was transcribed into Western notation and analysed in detail with an emphasis on performance technique, musical construction and pedagogy.

Exercises were developed in each technical category to aid in technical development. Results were organised according to a logical pedagogical progression and presented as a comprehensive guide to assist in the development of the non-Balinese gender wayang musician.

Indexing (document details)Advisor: Rosauro, Ney GabrielSchool: University of MiamiSchool Location: United States -- FloridaKeyword(s): Indonesia, Shadow play, Loceng, Bapak I Wayan, Balinese,

Gender wayang, Performance technique, PedagogicalSource: DAI-A 68/06, Dec 2007Source type: DissertationSubjects: Music, Music education Publication Number: AAT 3267728ISBN: 9780549064565Document URL: http://proquest.umi.com/

Packaging ethnicity: State institutions, cultural entrepreneurs, and the professionalization of Minangkabau music in Indonesiaby Fraser, Jennifer Anne, Ph.D., University of Illinois at Urbana-Champaign, 2007, 472 pages;

73

AAT 3269894

Abstract (Summary) This dissertation questions why , despite pronounced cultural and social heterogeneity, homogeneous images of Minangkabau ethnicity are depicted in performance today. In the instability characterizing Indonesia since independence, the Minangkabau--neither a dominant nor a marginal group--have fought to maintain visibility and gain access to limited state resources. The process of packaging ethnicity for display has encouraged the creation of new musical styles and modes of production.

My dissertation traces the political and economic circumstances that have engendered the institutionalization, professionalization, and commercialization of indigenous arts in independent Indonesia and seeks to understand why--and which --institutions and individuals willingly accept, and actively disseminate, these representations. While the analysis explores how state ideas have filtered through local institutions into musical life in West Sumatra, it presents a complex picture of the personal motivations--ranging from preservationist visions to increased social, educational, cultural, or economic capital--that engage diverse individuals.

I reveal how the commercialization of the arts has encouraged the emergence of cultural entrepreneurs interested in packaging and selling ethnicity and examine their contribution by tracing the links between the celebration of weddings in cultural displays and contemporary wedding practices. Drawing on ethnographic research conducted in Jakarta and the villages, towns, and cities of West Sumatra and in contexts ranging from the indigenous to the cosmopolitan, I argue through detailed analyses that the aesthetics and ethics of Minangkabau music have been radically altered--and reimagined--through institutional and entrepreneurial involvement.*

*This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.

Indexing (document details)Advisor: Capwell, CharlesSchool: University of Illinois at Urbana-ChampaignSchool Location: United States -- IllinoisKeyword(s): Ethnicity, State institutions, Cultural entrepreneurs,

Professionalization, Minangkabau, Music, IndonesiaSource: DAI-A 68/07, Jan 2008Source type: DissertationSubjects: Cultural anthropology, MusicPublication Number: AAT 3269894ISBN: 9780549095408Document URL: http://proquest.umi.com/pqdweb?did=1379550371&sid=2


The music of Arabs, the sound of Islam: Hadrami ethnic and religious presence in Indonesiaby Berg, Birgit Anna, Ph.D., Brown University, 2007, 279 pages; AAT 3271951

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Abstract (Summary) This dissertation explores the cultural traditions and identity affiliations of Islamic communities of Arab descent ( keturunan Arab ) in Eastern Indonesia. It further explores the role of Arab-Indonesian culture in the larger Indonesian Islamic community. Arab-Indonesian communities are comprised of third and fourth generation descendents of immigrants from Hadramaut, Yemen. Although Arab-Indonesians have assimilated into Indonesian society--their costumes, their cuisines, and even their daily languages are those of typical Indonesians--those that live in this predominantly Christian region of the Indonesian Republic rely on Arab-derived music and dance forms to mark their distinctive ethnic and religious identity.

The focus of this study is orkes gambus , a genre of music and dance that remains an essential part of Arab-Indonesian community celebration but is also adopted as an Islamic expressive art form across Indonesia. I use this musical genre as means to discuss modern ethnic and religious identity negotiation in Indonesia. I begin the dissertation with an introduction to the history and cultural traditions of Arab-Indonesian communities in North Sulawesi, Indonesia, my fieldwork site, and then offer three thematic chapters that explore (1) how orkes gambus music is used to express "Arab" identity within a typical Arab wedding in North Sulawesi, while in other contexts, Arab Indonesians adopt different forms of music to express national, local, and religious identities; (2) how the orkes gambus genre has changed due to global and technological flows, but remains a form of "traditional" Arab (and even Islamic) music; and (3) the manners in which non-Arab Muslims adopt and reject this music in Indonesia as part of Islamic expressive culture.

Central to my study is an examination of the ways in which ethnic and religious groups negotiate their group affiliations through sonic and linguistic markers and reinvent cultural boundaries and community through performance. My research suggests that Arab-Indonesian culture, while sometimes presented as primarily ethnic in identification, is also used increasingly as an exemplar of global/Islamic expression due to recent changes in ideological landscapes of ethnic pride and religious conformism in Indonesia.

Indexing (document details)Advisor: Perlman, MarcSchool: Brown UniversitySchool Location:

United States -- Rhode Island

Keyword(s): Music, Arabs, Islam, Hadrami, Ethnic, Religious presence, Indonesia

Source: DAI-A 68/07, Jan 2008Source type: DissertationSubjects: Cultural anthropology, MusicPublication Number:

AAT 3271951




1390286531

Musik kontemporer: Experimental music by Balinese composersby McGraw, Andrew Clay, Ph.D., Wesleyan University, 2005, 425 pages; AAT 3167977

Abstract (Summary)

75

This dissertation examines new and experimental compositions by Balinese composers working in Bali and Java, Indonesia. Chapter one presents a discussion of terminology and an introduction to the historical setting, tracing the history of modern developments in the performing arts in Indonesia, and specifically in Bali, since colonialism. Chapter two discusses metaphors, rhetorics, and discourses surrounding the production of new music in Bali. This chapter also includes an examination of official policies regarding the performing arts as well as a section on Balinese historiography. Chapter three considers audiences, composers, and patrons with an emphasis on the role of the national conservatory (ISI) in the development of experimental forms. Chapter four presents a discussion of the development of experimentalism in Java and the cross influences between the new music scenes in Bali and Java. Also included in this chapter is a theoretical discussion concerning possible influence and cultural diffusion between Euro-America and Indonesia. Chapter five includes the analysis of seven key musik kontemporer works, with an aim at presenting new analytical approaches in order to discuss musical elements disregarded in previous analyses of Balinese music. This dissertation includes four appendices. The first appendix includes five additional analyses of musik kontemporer works. The second appendix is a series of definitions of Balinese music ensembles relevant to the development of musik kontemporer . The third appendix presents several composer profiles. The final appendix is the author's translation of two key Indonesian-language texts referenced in the work: the "Prakempa" (Bandem) and the "Satu Alternatif - Enam Tahun PKM" (Hardjana). Most broadly, the aim of this dissertation is to approach issues rarely discussed in the current ethnomusicological literature. These include: (1) a discussion of the development of an experimental genre outside of the Western art tradition, (2) a discussion which focuses more upon the work of idiosyncratic composers rather than groups working within bounded traditions, (3) a turn back towards the analysis of musical structure, rather than simply the analysis of music's signification, and (4) an attempt at cultural critique through musical analysis and the development of theoretical tools that could be applied to other musics.

Indexing (document details)Advisor: SumarsamSchool: Wesleyan UniversitySchool Location:


Keyword(s): Indonesia, Balinese gamelan, Experimental music , ComposersSource: DAI-A 66/03, p. 816, Sep 2005Source type: DissertationSubjects: MusicPublication Number:

AAT 3167977




888835511

Penasar: A central mediator in Balinese dance drama/theaterby Catra, I Nyoman, Ph.D., Wesleyan University, 2005, 382 pages; AAT 3167979

Abstract (Summary)

76

A key character in traditional Balinese dance-drama/theater is the penasar . The penasar can be found in all genres of shadow puppet plays, wayang kulit , as well as in all dance-drama. The role of the penasar is the backbone in the structure of the play. The presence of the penasar is extremely significant, for without it the performance could not be completed.

The foremost intention of this study is to examine the role of penasar as an echo of Balinese religious teachings and social discourse. The dramatic contents of the play are implementations of the Veda 's essential meanings, while the theatrical performances serve as a medium for teaching how to apply them to life, smerti . The analytical approach of this study is framed by Hindu religious concepts: (1) the penasar is examined in the context of philosophical meaning, tatwa ; (2) the role of penasar demonstrates how characters should act in a social context, susila ; (3) the aesthetic aspects of the characters' presentation upacara , including the performance elements and the manner of actions, tatacara , are also main concerns of this study. These concepts will provide the main structure of this dissertation.

One of the central arguments of this dissertation is to demonstrate that the penasar's significance is rooted in the Balinese concept of rua-bineda , a philosophical concept that signifies the joining together of contradictory principles. The penasar's function is to serve as a mediator between the invisible world of the gods/spirits and the visible world of the audience, as well as between man, his fellow man, and his environment. While serving as the mediator between the invisible and visible worlds, the penasar performs dialogues, songs, and jokes to unite good and evil, past and present, sacred and profane, and other dialectical concepts. The penasar's presence as foundation of the performance is rooted in the invisible world of sacred and historical knowledge that must be communicated to the audience, who inhabits the visible world of contemporary conflicts. Throughout the dissertation I will argue that the penasar is a living manifestation of rua-bineda . At the same time, he engages his audience in the struggle of finding balance between the principled understanding of their lives and their contemporary conflicts.

Penasar exist in various theatrical forms, each of which has its own aesthetic form. The penasar requires an actor to be multi-artistic and demonstrate skills in dancing, acting, spoken language, and singing, as well as to have the ability to understand the accompanying music and to act as a priest. This dissertation explains how these elements are integrated in a performance. The dynamic change and the transformation of penasar among various genres are also investigated.

In addition, this dissertation examines the performer's interpretations, based on studying and analyzing the performance's texts transcriptions, including my own life-long experience of participating both directly and indirectly in several performing art forms. The nature of the penasar's presentation is an unending creative process. The influences of modernization, tourism, and globalization make the penasar continuously responsive to changing conditions.

Indexing (document details)Advisor: Slobin, MarkSchool: Wesleyan UniversitySchool Location:


Keyword(s): Penasar, Balinese, Dance drama/theater, Theater, IndonesiaSource: DAI-A 66/03, p. 798, Sep 2005Source type: DissertationSubjects: Dance, Music, TheaterPublication Number:

AAT 3167979



77


888833801

Cyclic shape theory: An approach to modeling modal processes in pieces from Balinese Gamelan and Bartokby Taavola, Kristin S., Ph.D., The University of Rochester, Eastman School of Music, 2002, 364 pages; AAT 3045251

Abstract (Summary) In the history of modal analysis, scholars have emphasized classification of such elements as melodic patterning, cadential tones and figures, and rhythmic placement of characteristic gestures. This Dissertation combines the concepts of pattern and rhythmic placement to analyze modal processes in Balinese angklung gamelan and short pieces by Bartok. While previous analyses have attempted to uncover unified features in a diverse repertoire, this Dissertation attempts to show how diversity arises within unified modal scales of four and five tones.

The theory developed here provides a means for both classifying simple melodies and understanding their transformation throughout a piece. The theory first defines and classifies cyclic melodic shapes on the basis of four degrees of closure , or symmetric mappings between the first and second halves of a melody, beginning with strings of eight tones.

Next, the theory examines four different types of motion from melodic string to string. Although the analysis considers both linear patterns and transformations between lines of a melody, two main types of motion affect cohesiveness of modal narratives. First, flow of shapes, or progression of closure, monitors the change or consistency of degrees of closure as the melody moves from shape to shape. Consistency of degrees of closure leads to regularity in the level of symmetries across shape. Second, flow of strings, or cyclic periodicity, documents the consistency of tones in corresponding rhythmic positions across strings. Recurrence of the same tone in the same position produces stability in rhythmic patterning, somewhat analogous to meter in tonal music. Because regularity and stability create stasis, they usually exist in proportional degrees. Pieces that exhibit a high degree of regularity may feature lower stability, and vice versa. Both within and across shapes, this Dissertation also defines step roles , or context-sensitive functions of tones in the mode.

The study suggests that the interplay of regularity and stability tends to be systematic, and to reflect expressive aspects of the music. Examination of different groups of pieces shows that shape moderates the musical narrative as well as step roles, and indeed, it supersedes micro-patterns in the context of limited gamuts as a generator of melodic processes.

Indexing (document details)Advisor: Headlam, DaveSchool: The University of Rochester, Eastman School of MusicSchool Location:


Keyword(s): Cyclic shape, Modal processes, Balinese, Gamelan, Bela Bartok, Bartok, Bela, Hungary, Indonesia


AAT 3045251

ISBN: 9780493591391

78

Document URL:



726379061

Javanese gamelan in Britain: Communitas, affinity and other storiesby Mendonca, Maria Emma, Ph.D., Wesleyan University, 2002, 598 pages; AAT 3045758

Abstract (Summary) What is behind the spread and popularity of gamelan performance outside Indonesia? This dissertation attempts to answer this question through considering the development of one type of gamelan, Central Javanese, in one region (Britain). The answer involves locating gamelan performance in a network of regional and international affiliations, both contemporary and historical, at the same time describing the interplay with supercultural ideologies and a wide range of personal motivations and musical interests on the part of the performers.

Certainly, with the diversity of the people involved, no single reason suffices. Gamelan has 'struck a chord' with a wide variety of people for an equally wide variety of reasons. It will however, be demonstrated that a significant part of the appeal of Javanese gamelan in Britain (both to individuals, and--on an ideological level--to British music education, which has been a particular nurturer of gamelan activity) is its perceived ability to represent a 'utopian musical community' on a number of levels, suggesting parallels to and applications of Turner's tripartite notion of "communitas" (Turner 1969, 1982).

Indexing (document details)Advisor: Slobin, MarkSchool: Wesleyan UniversitySchool Location:


Keyword(s): Javanese, Gamelan, Britain, IndonesiaSource: DAI-A 63/03, p. 811, Sep 2002Source type: DissertationSubjects: Music, Music education Publication Number:

AAT 3045758




726396811

Performing arts, identity, and the construction of place in three Balinese transmigration settlementsby Redding, Danni Josephine, M.A., University of Hawai'i, 2002, 185 pages; AAT 1411255

79

Abstract (Summary) In the early 1900s, the colonial Dutch government created an internal migration program, transmigration, which primarily moved people from the overpopulated islands of Java and Bali to Indonesia's less-populated islands. The post-colonial Indonesian government adopted this program in 1950. In the case of the Balinese transmigrants, the performing arts have been utilized as a means of establishing identity while negotiating their new surroundings. In this thesis I discuss the current state of performing arts in three Balinese transmigration villages and the effects of government intervention on identity maintenance. I argue that performing arts are a key factor in the processes of Balinese identity maintenance and the creation of a sense of "home" within the Balinese transmigration context. The results of this study are based on field research conducted in Bali, Sumbawa, and Sumatra, Indonesia, from June 2000 through August 2001.

Indexing (document details)Advisor: Lau, FrederickSchool: University of Hawai'iSchool Location:


Keyword(s): IndonesiaSource: MAI 41/03, p. 649, Jun 2003Source type: DissertationSubjects: Music, Cultural anthropology, Public administrationPublication Number:

AAT 1411255




766391501

Constructing images in Javanese gamelan performances: Communicative aspects among musicians and audiences in village communitiesby Santosa, Ph.D., University of California, Berkeley, 2001, 521 pages; AAT 3044667

Abstract (Summary) Gamelan performances are means of communication with which musicians evoke and stimulate thoughts of audiences. In villages, gamelan performances provide meanings in wider contexts not only among hosts but also among audiences, patrons, and the community at large.

The meanings of performances are the result of the immediate interaction between the audiences' domains of knowledge and the thoughts presented in performances. They are extracted from the "connotative complex" which the music offers when performances take place on stage. Audiences make sense of a few aspects of the complex, but not all the variety of possible meanings that appear in the performances.

Audiences are involved in a complex process through which they intend to make sense of the music. Individual audience members have different way of perceiving messages. Thus, every time they listen to the music they have a different way of extracting the meanings, resulting in a rich and wide experience. Using social and musical categories, they construct images that are useful not only for social values but also for guidance and references for their social behaviors.

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Musical communication is a unique process in which audience members' views interact with thoughts which musicians present. Personal, social, cultural, and musical domains of audiences negotiate with the content of the music to construct imagination in the aesthetic domain. Because imagination in the aesthetic domain has certain power to evoke deep thoughts and it stays longer than that constructed in daily life, gamelan performances can be used as ways to strengthen the social and cultural domains of the life of villagers. Every time audiences listen to gamelan, they emphasize different aspects of the domains of their lives and this eventually results in understanding the values and meanings in the community.

Indexing (document details)Advisor: Brinner, BenjaminSchool: University of California, BerkeleySchool Location:


Keyword(s): Indonesia, Javanese, Gamelan, Performances, Communicative, Musicians, Audiences, Village communities


AAT 3044667




726333971

Erotic triangles: Sundanese men's improvisational dance in West Java, Indonesiaby Spiller, Henry James, Ph.D., University of California, Berkeley, 2001, 386 pages; AAT 3025184

Abstract (Summary) Dance events at which male dancers improvise in West Java represent an enduring set of conditions that schematizes many of the contradictions inherent in Sundanese gender identities. The "protocols" through which these meanings are made are common cultural capital--virtually every Sundanese man, woman, and child takes them for granted. A survey of historical dance suggests that three elements that persist in all forms--professional female singer/dancers ( ronggeng ), drumming that literally "animates" dancers, and a sense of "freedom" on the part of the male dancers--combine to form a durable but flexible "triangle."

I demonstrate that all participants iterate the norms of Sundanese gender identities into existence in the course of dance events. I examine the dance event triangle in light of other triangular models that illuminate gender ideologies and the creation of desire, such as Eve Kosofsky Sedgwick's erotic triangles, René Girard's mimetic triangles, and the Oedipal triangle as interpreted by Lévi-Strauss, Freud, and Lacan, and suggest how the inscription of gender ideologies through dance events is masked as aesthetic interplay between dancing, drumming, and ronggeng .

I then apply a "trigonometry of aesthetics" suggested by my triangular model to several contemporary case studies, including folkloric reconstructions of ketuk tilu (an obsolete dance event genre), the popular music and dance innovations called jaipongan and dangdut , and

81

Sundanese "classical" dance as promulgated by modern choreographers. This analysis clarifies relationships between dance event protocols and aesthetics on the one hand and continuities and changes in gender ideologies on the other.

Finally, I examine how dance is redeployed in service of creating a "Sundanese" identity within a larger "Indonesian" context. Recasting participational dances as presentations of "Sundaneseness" disables the process of situating the masculine self through dance, so Sundanese reinscribe the dance event triangle onto dangdut music and dance--arguably among the least Sundanese-sounding music in common circulation in West Java. By avoiding--even precluding--the sonic emblems of Sundanese music that have come to represent "tradition" and Sundaneseness, dangdut ironically is able to recuperate a forum for enacting an unassailably khas Sunda (authentically Sundanese) approach to constructing and contesting gender ideology: the dance event triangle.*

*Originally published in DAI Vol. 62, No. 9. Reprinted here with corrected title.

Indexing (document details)Advisor: Brinner, BenjaminSchool: University of California, BerkeleySchool Location:


Keyword(s): Sundanese, Men, Improvisational dance, West Java, Indonesia, Music

Source: DAI-A 62/11, p. 3621, May 2002Source type: DissertationSubjects: Music, DancePublication Number:

AAT 3025184




726075101

Music, politics, and the problems of national identity in Indonesiaby Notosudirdjo, Franki Suryadarma (Franki Raden), Ph.D., The University of Wisconsin - Madison, 2001, 475 pages; AAT 3033273

Abstract (Summary) My dissertation addresses the problems of national identity embedded in the musical world of the culturally diversified, developing country of Indonesia. The problems of national identity in this former Dutch colony arose when the idea of forming Indonesia as an independent nation-state emerged among indigenous intellectuals in the early of 20 th century. With this new awareness as a background, Ki Hadjar Dewantara, a composer and a prominent nationalist leader, created a piece of new (art) music entitled Kinanthie Sandoong (for soprano and piano) in 1916 with an eye toward forming a cultural identity for this new emerging nation. This piece was written with the blending of the aesthetics of Javanese gamelan and European classical music, a concept that later became the predominant aesthetic of musik seni (art music).

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In due time, the idea of proclaiming musik seni as a national music ( musik kesatuan or musik Indonesia baru ), which became the concern of other composers as well, came to be challenged by the popularity of other genres. Among others were kroncong and gamelan , which are respectively popular indigenous and traditional (Javanese) genres. In addition to this, there were also challenges from composers--affiliated with the Indonesian Communist Party ( Partai Komunis Indonesia ) in the early 1960s--who proposed a social-realist people's music as national music. Along with the introduction of Soeharto's New Order period in the mid 1960s, which gave emphasis to economic growth, national stability and global culture, the effort to seek Indonesian national music entered a new phase of political and aesthetic complexity. I argue that it was in this period art music, more than any other musical genres, could best represent Indonesian national identity ( kepribadian nasional ).

Indexing (document details)Advisor: Sutton, R. AndersonSchool: The University of Wisconsin - MadisonSchool Location:


Keyword(s): Music, Politics, National identity, IndonesiaSource: DAI-A 62/11, p. 3619, May 2002Source type: DissertationSubjects: Music, Cultural anthropology, HistoryPublication Number:

AAT 3033273




726088281

The distribution, construction, tuning, and performance technique of the African log xylophoneby Bae, Yoo Jin, D.M.A., The Ohio State University, 2001, 112 pages; AAT 3011011

Abstract (Summary) The log xylophone is a unique subcategory of xylophones in Africa and is identified mainly by the lack of a resonator attachment. Pieces of log or wood, bundles of grass, or banana stems are commonly used to serve as the support frame on which the wooden slats rest. In this study the leg xylophone is considered under the log xylophone topic since in the leg xylophone, human legs function in ways similar to the log.

Due to the unusual distribution of the xylophone in the African continent, some scholars tend to suggest Asian origins for the African xylophone. Indonesia, specifically, stands out in the works of Arthur Jones as a possible origin; his arguments are built around samples of evidence on equidistance tuning, geographical distribution, similarities in construction, and cultural practices.

The Ugandan amadinda xylophone is presented here as the representative log xylophone with supportive examples from Omabe and kponingbo xylophones along tuning, construction, and playing technique. The African xylophone remains a challenge to organologists, ethnologists, and percussionists.

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Indexing (document details)Advisor: Avorgbedor, Daniel, Powell, SusanSchool: The Ohio State UniversitySchool Location:


Keyword(s): Tuning, Performance, African, Log xylophone, XylophoneSource: DAI-A 62/04, p. 1260, Oct 2001Source type: DissertationSubjects: MusicPublication Number:

AAT 3011011




729048111

The relationship between sixth-grade students' non-Western music preference and their attitude toward cultural diversityby Bond, Judith Wise, Ph.D., University of Minnesota, 2001, 105 pages; AAT 9997638

Abstract (Summary) The purpose of this study was to examine the relationship between sixth-grade students' liking for non-Western music and their attitude toward people from diverse culture/ethnic backgrounds. Subjects were predominantly white, middle class sixth-grade students (N = 321) in Minnesota, Ohio, and Wisconsin suburban public schools. Students had limited exposure to non-Western music in the general music curriculum. The study involved listening to a series of 16 recorded excerpts comprising the World Music Preference Inventory - Elementary (WMPI-E) and assigning each example a preference rating on a scale from one to four. The WMPI-E included excerpts of field recordings from eight regions: Africa, China, India, Indonesia, Japan, Korea, the Middle East, and Thailand, with one vocal and one instrumental example from each region. Immediately after completion of the WMPI-E, students responded to 20 statements on the Multicultural Attitude Inventory - Elementary 2 (MAI - E2), an instrument designed to indicate attitude toward cultural diversity, by selecting a number from one to four to indicate level of agreement or disagreement with each statement. Statistical analysis revealed a positive correlation (r = 41) between the composite non-Western music preference score and the composite multicultural attitude score, at a significance level of p < 001. This significant correlation, although not a causal relationship, suggests the likelihood that cultural/ethnic attitudes and preference for non-Western music are related. The relationship between ability to identify the origin of a musical example and preference for the example was examined in a pilot study. However, the number of correct identifications was too small to produce significant results, so this question was not included in the final study. In both studies, instrumental non-Western music was preferred over vocal non-Western music. Other characteristics of preferred music were identified as follows: moderately fast tempo, easily identified beat, rhythmic interest, repetition of melodic or rhythmic ideas, similarity to familiar music, and, for vocal music, familiar (Western) vocal timbre.

Indexing (document details)Advisor: Haack, Paul A.School: University of MinnesotaSchool United States -- Minnesota

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Location:

Keyword(s): Sixth-grade, Non-Western music , Cultural diversity, Music preferences

Source: DAI-A 61/12, p. 4714, Jun 2001Source type: DissertationSubjects: Music education , Elementary educationPublication Number:

AAT 9997638




727879031

Kau kuat, kau pinter, kau punya (You're strong, you're clever, it's yours): Changing coastal resource management institutions and practice in the Kei Islands, Eastern Indonesiaby Thorburn, Craig Carpenter, Ph.D., University of California, Los Angeles, 2000, 400 pages; AAT 9986836

Abstract (Summary) Common property resource management and involving local communities in natural resource management, regulation and enforcement, have increasingly come to be viewed as important and underutilized means to curb of reverse the environmental destruction that often accompanies economic development in Third World countries. Indonesia, a global center of marine and terrestrial biodiversity, is also home to hundreds of distinct cultures, many of which still retain some traditional livelihood and resource management practices. Often, these societies' livelihoods, and the natural resources upon which they depend, are disrupted and degraded by state and private sector economic development ventures.

Since colonial times, scholars have investigated and recorded customary adat law and practices of cultural groups throughout the country. Although Indonesia is an island nation, the majority of scholarship on customary resource management and common property regimes there has focused on forests and forest-dependent communities.

The eastern island province of Maluku is remarkable both for its extraordinary biological diversity, and for the richness and resilience of its indigenous coastal and marine management practices and institutions. Perhaps the best known of these is sasi , spatial and temporal prohibitions on harvesting crops, cutting wood or gathering products from the forest, tidal zone or village-controlled sea, also cursing, slander, harassing women, loud music, and other untoward behavior. For all its reknown, sasi is but a small--and relatively uncomplicated--facet of a much more elaborate body of adat law and ritual.

This study examines changing coastal and marine resource management practice and institutions in the Kei Islands, a remote archipelago in Southeast Maluku. Increased state control of village government, combined with poorly conceived and implemented resource conservation policy, and the arrival of lucrative but highly destructive fishing technologies, have combined to weaken traditional structures and conventions, with dire environmental and social consequences. Outcomes vary significantly in different villages.

Taking a political ecology approach, this dissertation examines the contextual sources of ecological change, struggles over access to resources between groups with differing levels of

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power to influence decision-making over the use of natural resources, and the socioeconomic and political ramifications of resource use change and environmental degradation.

Indexing (document details)Advisor: Carney, Judith A.School: University of California, Los AngelesSchool Location:


Keyword(s): Coastal resource management, Kei Islands, Indonesia, FisheriesSource: DAI-A 61/09, p. 3709, Mar 2001Source type: DissertationSubjects: Geography, Environmental science, Aquaculture, Fish productionPublication Number:

AAT 9986836




727761361

Balinese discourses on music: Musical modernization in the ideas and practices of shadow play performers from Sukawati, and the Indonesian College of the Artsby Heimarck, Brita Renee, Ph.D., Cornell University, 1999, 462 pages; AAT 9914666

Abstract (Summary) While many Western scholars have discussed the technical aspects of Balinese music, or the traditional contexts for performance, little has been written in Western languages about Balinese discourses on their music. This dissertation examines the human reality and experience of music in Bali through an analysis of oral and written Balinese discourses on music, mainly by musicians and dalangs (shadow play puppeteers) from the village of Sukawati--renowned for the shadow play tradition--and scholars, teachers, administrators, and students from the Indonesian College of the Arts (STSI) in the city of Denpasar. These two areas provide a useful contrast between the musical thought of a traditional village and that of an urban, modern college. At the same time, these discourses interrelate since many of the Sukawati performers are faculty or students at the college.

This dissertation intertwines different strands of discourse in order to explore the effects of modernization on the study and performance of Balinese music. In particular, I explore changes in performance practice and audience response; modern arts education and its emphasis on research, scholarship, and theory in institutional learning; the ongoing importance of prayer and taksu (divine inspiration) to performance; the social and economic role of Balinese arts in Indonesia's cultural policy; and, the political function of Balinese arts for cultural diplomacy.

The material I have used is derived from lengthy discussions I had with Balinese musicians, shadow puppeteers, and scholars, and close readings of Balinese texts on music, gathered during periods of field study and archival work in Bali in 1990, 94, and particularly in 1996. In addition, my previous musical studies of gender wayang in Bali in 1985, 86, and 88 laid the musical groundwork for this study.

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A concentration on Balinese discourses enables individual performers and scholars to represent themselves to a greater extent than previously seen in ethnomusicological scholarship, making this study more of a critical discussion among equals than a Western interpretation of "others." This approach permits a rare view into contemporary Balinese conceptions and practices of music.

Indexing (document details)Advisor: Hatch, MartinSchool: Cornell UniversitySchool Location:


Keyword(s): Balinese, Discourses, Music, Modernization, Shadow play, Performers, Sukawati, Indonesian College of the Arts

Source: DAI-A 59/12, p. 4312, Jun 1999Source type: DissertationSubjects: Music, Cultural anthropology, HistoryPublication Number:

AAT 9914666




733080961

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