Rifdah Fadhillah, Dewi Meyrasyawati, Johny Alfian Khusyairi
This study analyzes music's role in shaping visitors' hyperreal experiences in Kampung Jelita, Surabaya. Using a qualitative case study approach, the research focuses on the Japanese and Balinese thematic zones and applies Jean Baudrillard's theory of hyperreality. Data were collected through in-depth interviews, direct observation, literature review, and documentation conducted in the Kampung Jelita area, Manukan Lor IV E Street, RT 05/RW 01, Banjar Sugihan Subdistrict, Tandes District, Surabaya. The findings reveal that instrumental music is a cultural simulator that evokes illusion and fantasy, supporting Baudrillard's view that simulation can substitute reality. The soundscapes in each thematic zone, Japanese and Balinese, enhance the immersive experience by harmonizing with visual ornaments, prompting visitors to engage emotionally, experience nostalgia, and participate in performative acts such as renting traditional costumes. However, some visitors noted inconsistencies between the music and the intended cultural themes. Theoretically, this study contributes to hyperreality discourse by emphasizing the role of music in reinforcing sensory simulation within thematic tourism village contexts. Practically, the findings suggest that curating culturally coherent soundscapes can strengthen visitors' emotional attachment and enhance destination branding. Thus, music should be regarded as a strategic medium in constructing cultural identity and tourist experience.
Hiperrealitas Musik di Kampung Jelita: Studi Kasus Tematik Wisata di Surabaya
Abstrak
Penelitian ini menganalisis peran musik dalam membentuk pengalaman hiperreal pengunjung di Kampung Jelita, Surabaya. Dengan menggunakan pendekatan studi kasus kualitatif, penelitian ini berfokus pada zona tematik Jepang dan Bali serta menerapkan teori hiperrealitas Jean Baudrillard. Data dikumpulkan melalui wawancara mendalam, observasi langsung, studi pustaka, dan dokumentasi yang dilakukan di kawasan Kampung Jelita, Jalan Manukan Lor IV E, RT 05/RW 01, Kelurahan Banjar Sugihan, Kecamatan Tandes, Surabaya. Hasil penelitian menunjukkan bahwa musik instrumental berfungsi sebagai simulator budaya yang membangkitkan ilusi dan fantasi, mendukung pandangan Baudrillard bahwa simulasi dapat menggantikan realitas. Lanskap bunyi (soundscape) di setiap zona tematik Jepang dan Bali memperkuat pengalaman imersif dengan menciptakan keselarasan antara elemen audio dan visual, sehingga mendorong pengunjung untuk terlibat secara emosional, merasakan nostalgia, serta berpartisipasi dalam tindakan performatif seperti menyewa kostum tradisional. Namun, beberapa pengunjung mencatat adanya ketidaksesuaian antara musik yang diputar dengan tema budaya yang dimaksudkan. Secara teoretis, penelitian ini memberikan kontribusi terhadap wacana hiperrealitas dengan menekankan peran musik dalam memperkuat simulasi sensorik dalam konteks kampung tematik wisata. Secara praktis, temuan ini menyarankan bahwa pengelolaan lanskap bunyi yang selaras secara budaya dapat memperkuat keterikatan emosional pengunjung dan meningkatkan citra destinasi wisata. Dengan demikian, musik perlu dipandang sebagai media strategis dalam membangun identitas budaya dan pengalaman wisata.
Kata kunci: hiperrealitas musik; Kampung Jelita; musik instrumental tradisional; simulakra
O presente artigo aborda a importância da Fundação de Educação Artística (FEA) no contexto da música contemporânea erudita de Belo Horizonte. Como estudo de caso, o trabalho examina os quase 500 concertos realizados em seu teatro nos dez anos que antecederam à pandemia de COVID-19. Ao se verificar a quantidade de compositores representados e a diversidade de obras executadas, o estudo destaca a importância de se compreender melhor como o fechamento de seu espaço cultural em 2020, devido à pandemia, afetou a cena musical da cidade.
Uzimajući u obzir činjenicu da se dvije godine zaredom obilježava 150. godina od rođenja i 110. godina od smrti jednog od naših najznačajnijih književnika – Antuna Gustava Matoša – u znanstvenim se istraživanjima učestalije pojavljuje tematika kojom se nastoje ostvariti tzv. »nova čitanja«, koja valoriziraju i razmatraju njegovu djelatnost iz novog rakursa. Polazeći od navoda Antuna Gustava o »muzikalnoj kući« Matoševih, izrečenoga u žaru polemike, u ovome se radu istražuje značaj i pojavnost glazbe u obitelji Matoš. Dijakronijskim prikazom obiteljskoga stabla Matoševih prezentirat će se glazbena djelatnost pojedinih članova obitelji, bilo da su se glazbom bavili u profesionalnome ili amaterskom kontekstu, i to Antuna Gustava, njegova djeda Grgura, oca Augusta, sestre Danice, brata Leona i ostalih članova obitelji Matoš. Kao najznačajniji izvori pri tome koristili su se književna ostavština Antuna Gustava Matoša, relevantna znanstvena i stručna literatura te primarno arhivsko gradivo.
I 1913 foreslo fiolinisten Torgrim Castberg å etablere «Norges Musikhøiskole» i Bergen. Castberg hadde med stor suksess etablert Musikakademiet for barn og unge samme sted i 1905. I 1913 fikk Castberg reist en stor bygning sentralt i Bergen. Rett etter innflyttingen av Musikakademiet i Musikens Hus lanserte han ideen om å etablere «Norges Musikhøiskole» i den ene fløyen i huset, i tett pedagogisk og administrativt samvirke med Musikakademiet. Forslaget fikk bred tilslutning, men direktøren ved Musik-konservatoriet i Kristiania, Peter Lindeman, var sterkt imot planene, og departementet fant forslaget for uklart. I denne artikkelen dokumenterer forfatteren denne tidlige debatten om musikkutdanningen i Norge og ikke minst hvordan den raskt kom til å dreie seg mest om Bergen og Kristiania og mindre om behovet for en norsk musikkhøgskole. Avslutningsvis trekkes linjene frem til etableringen av Norges Musikkhøgskole i Oslo i 1973, igjen dreide debatten seg aller mest om stedsvalg.
A plainchant office (historia) for St Pancras was composed for the Cluniac monastery dedicated to the saint at Lewes, Sussex, England. The style of its Latin texts and melodies suggests a date close to the foundation of the monastery in 1077.
Este artigo ensaístico tem o objetivo de refletir sobre perspectivas da pesquisa (auto)biográfica atravessadas por estudos por mim realizados nos últimos anos, através de um exercício metanarrativo. Nesse esforço, realizo contrapontos entre produções (auto)biográficas, seus fundamentos teórico-metodológicos e recentes ponderações epistemológicas possibilitadas pelo Xxxxx. Especificamente, percorro alguns fundamentos da pesquisa-formação e da biografia educativa, bem como, percepções advindas de pesquisas realizadas com essas bases e de leituras recentes que, além de atualizarem a compreensão sobre formação e pesquisa científica, fundamentam um campo epistemológico potente para pensarmos, também, sentidos para a própria música. Com isso, almejo avançar na compreensão sobre o lugar da música na pesquisa (auto)biográfica e as potências desta última para pensarmos a formação humana com e através da música.
In this article, the spiritual and moral upbringing and education
in the Sunday schools of the Russian Orthodox Church is presented in a historical and cultural context. The authors believe that the main goal of modern Sunday
schools in Russia is to revive the national tradition of missionary preaching
the Gospel that is poorly studied in modern pedagogical science. This tradition
determines the content and forms of educational work, including those related to art.
To confirm their ideas, the authors analyze the main historical stages of the formation
and development of church (parish) schools, which are the prototype of the modern
Sunday schools of the Russian Orthodox Church. The history of the spiritual and
moral formation of a child’s personality in such schools testifies to the need
to regulate the substantive foundations of the educational process, which takes place
in the space of traditions and attitudes of the Christian church, but inevitably
includes the problems of the surrounding worldly reality and its cultural component.
Based on the mission goal of the modern Church Sunday school, declared
in the official guidelines of the Russian Orthodox Church, the authors proposed
a culturological approach to the spiritual and moral upbringing and education by
means of musical and theatrical activities. By its methodological nature this approach
is integrative since it incorporates both secular and religious meanings. The authors
took the theory of music-oriented polyartistic approach from the arsenal of secular
pedagogy of music education. The dominant content of the educational process
in the Orthodox Sunday school, that is associated with the preservation of the high
Evangelic meaning of the spiritual and moral education of the younger generation, is
drawn from the pedagogy of the religious direction. The article describes
the experience of integrating music and theater arts in order to solve the problems
of spiritual and moral education in the educational process of the modern Church
Sunday schools of Rybinsk Diocese.
Tritones sounding over subdominant harmony, either as suspensions, accented passing tones, or incomplete neighbors, constitute a class of sonorities regularly heard in film and television music. I collectively refer to these phenomena as “subdominant tritones” (SdTT), and theorize a link between the SdTT and emotions it engenders. The article presents close visual/musical analysis of selected SdTT-tinged passages in feature films that animate various heightened emotional states, including longing, nostalgia, relief, and melancholy.
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Виявлено особливості взаємодії природи й культури в деяких міських парках Сполучених Штатів Америки. Проаналізовано склад базових культурних заходів, який пропонується відвідувачам цих парків, здійснена спроба пошуку адекватних людині й природі критеріїв якості міського культурного середовища. З’ясовано, що культура в цьому випадку відіграє роль сполучної ланки між людиною й природою, забезпечуючи діяльну сторону їх взаємодії, уможливлює відновлення й гармонізацію внутрішнього світу городян. На матеріалі складу культурних заходів, пропонованих відвідувачам парків, означена тенденція посилення вектора взаємодії культурної та природної складової в урбаністичному просторі сучасних міст США. Також акцентовано на тенденції щодо формування естетичної привабливості міських просторів, а саме на впровадженні витворів мистецтва й зокрема паблік-арту в структуру урбаністичних територій.
This article has its source in a larger research project on distorted guitar playing in rock music which focuses on distortion’s effect on playability and expressiveness, its psychological influences on chord perception, composition, and production, and on issues regarding genre aesthetics. While most work on rock music and guitar cultures has either studied recorded and transcribed music or the star’s personality, behavior, and medial staging, this empirical study mainly focuses on amateur and semi-professional musicians, but it also evaluates statements of professional guitarists of various prominence. It explores guitar players’ views and attitudes as well as their preferred equipment, based on the theoretically grounded assumption that musicians’ use of equipment is strongly connected with genre conventions.
Oscar Hammerstein II (1895-1960), with various collaborators, addressed issues of race and intersectional oppression (here defined as multiple features that can contribute to oppression either socially or individually, and can include factors such as race, age, gender, and social class) in many of his works. This essay investigates such representations in Show Boat (1927, music by Jerome Kern), The New Moon (1928, music by Sigmund Romberg), Sunny River (1941, music by Romberg), Oklahoma! (1943, music by Richard Rodgers), and Carousel (1945, music by Rodgers) as well as selected twenty-first century revivals of Oklahoma! and Carousel. In each show, white hegemony is the norm, and characters of color, if they appear, represent some sort of difference that is made subservient to the white norm. In selected modern revivals, multicultural casting brings such issues, including negative stereotypes, to the fore and allows for new insights into issues of race and intersectional oppression.
The aim of the article is to reveal the specific synergy of content and form in Huang Ji’s vocal miniature to Liu Xiang’s poem “Going through the Snow”.
Research methodology. The comparative analysis applied in the article made it possible to establish morphogenetic and meaningful links between music and poetic text of Huang Ji’s vocal miniature to Liu Xiang’s poem “Going through the Snow” and traditional Chinese painting. The leading intonemes of the vocal miniature have been determined by the intonational analysis, among which the intoneme of the bell holds a unique place.
Results. The author examines the specific performance character of the comprehensive content in the small form typical of Huang Ji’s vocal miniature to Liu Xiang’s poem “Going through the Snow”. The syntheses of signs of expressiveness inherent in music, poetry and painting, the principle of allegorical presentation of the plot have contributed to the concentration of the volumetric content in the small form. The embodiment of the poetic text of a song of national painting, which is defined as a moving perspective, has led to the emergence of moving landscapes and plot. The Chinese vocal miniature genre is defined as a song-scroll by the type of content development. The journey from winter to spring is interpreted as a symbolic reflection of the path of cognition of the world. It has been established that intonemes of the song drama have affirmative and symbolic significance. The intoneme of the bell is inherent in the unity of symbolic and realistic functions.
Novelty. An attempt is made at identifying a song-scroll as the genre type of the Chinese vocal miniature, arising from the infusion of the features of classical national painting to the song drama.
The practical significance is determined by the expediency of using its provisions both in further scientific developments regarding the genre specific character of the Chinese vocal miniature, and in the process of implementing the interpretative versions of the song masterpiece by Huang Ji.
El presente trabajo investiga los avatares históricos de la compra por parte del monasterio benedictino de Montserrat del archivo musical del convento madrileño de la Encarnación de agustinas recoletas. Razones políticas, y fecha (año 1932, durante la segunda república), que explican el secretismo que envolvió el asunto. También se anota la lista de compositores y lista de maestros de capilla, así como se da cuenta de los libros corales que se incluyeron en el lote, especialmente, los de los músicos flamencos de la corte de Felipe II.
[ca] S’estudien les vicissituds històriques de la compra de l’arxiu musical de la Encarnación de Madrid per part del Monestir de Montserrat juntament amb les raons polítiques que van crear un clima de secret d’aquest afer; s’hi anoten els noms dels compositors de què consta l’arxiu de la Capella així com s’estableix la llista dels mestres de capella. A més s’anoten les altres parts (cantorals de polifonia antiga d’autors flamencs de la cort de Felip II i altres) que anaven amb l’arxiu.
Številni glasbeni prizori v Iliadi so obravnavani s treh različnih zornih kotov: (i) s stališča stvarne zvočnosti, kolikor je razvidna iz podanih opisov; (ii) s stališča družbene funkcije, ki jo ima glasba; (iii) s stališča estetskega jedra ter estetskih učinkov glasbe na homerske ljudi.