11 research outputs found
Structural Expansion in Javanese Gamelan and Chinese Jiangnan Sizhu
In her seminal 1980 article, Judith Becker convincingly demonstrated that Thai and Javanese gong-chime traditions share a "Southeast Asian musical process" of "expansion and/or contraction allowing a single piece to assume different lengths, instrumentation, different styles and degrees of improvisation, and consequently, different meanings and ethos" (1980: 454). The pieces chosen for comparison contained three levels of expansion and contraction played in sequence (ibid.: 457-58). More recently, Alan Thrasher posed the question: "Is there ... a shared ... structural ideal in the instrumental genres, one that is based on melodies of fixed length and performed in suite-like variations at slow, moderate and fast tempos?"
(1995: 111). Unlike the process described by Becker, the latter "structural ideal" is as an "East Asian" one, illustrated by a comparison of the repertories for the Chinese zheng and Japanese koto.
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λ
Όλ¬Έμμ, νμ΄μ μλ°μ 곡(gong)Β·μ°¨μ(chime) μ ν΅μ΄ ν μ
곑μ κΈΈμ΄, μ
κΈ°νΈμ±, μμ, μ¦νμ μ λ, κ·Έ κ²°κ³Ό μλ―Έμ μν μ€κΉμ§ λ¬λΌμ§κ² νλ νμ₯/μΆμ½ 곧 λλ¨μμμμ μμ
κ³Όμ μ 곡μ νκ³ μμμ μ€λλ ₯ μκ² λ
Όμ¦νλ€(Becker 1980: 454). λΉκ΅λ₯Ό μν΄ μ μν μ
곑λ€μμλ μΈ λ¨κ³μ νμ₯κ³Ό μΆμ½μ΄ μ°¨λ‘λ‘ μ΄λ£¨μ΄μ§κ³ μμλ€(κ°μ μ±
: 457-58). μ΅κ·Όμλ μ¨λ° μ°λμ
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μ₯λ₯΄λ€ μ¬μ΄μ 곡ν΅λ ꡬ쑰μ μμ΄λμΌμ΄ μλκ°?(Thrasher 1995: 111). λ² μ»€κ° μ€λͺ
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μ€κ΅κ³Ό μΈλλ€μμ μ°νμμ μ λνλ κ΅κ°μ£Όμ, μ§μμ£Όμ, κ·Όλν λ° κ΅μ°¨λ¬Ένμ ν¨λ¬λ€μ μλΉμ κ³ μ°°
In the 1950s, "comparative musicology" gave way to "ethnomusicology" as the favored term for the scholarly study of music which includes all of the world's cultures. At least two reasons for this widely accepted change can be observed: firstly, "comparison" as a mode of inquiry may suggest qualitative judgments of the relative value or sophistication of musical cultures; most noticeably, though by no means exclusively, comparison of Euro-American art music with other traditions. To ethnomusicologists and anthropologists schooled in cultural relativism, this type of comparison is, at best, misguided. Secondly, as many ethnomusicologists have noted, comparison is only one of many directions of inquiry available in the study
of music, and should not be singled out as the defining element in our work. In fact, the vast majority of ethnomusicological studies, even during the era of so-called "comparative musicology," have been culture-specific, with the case study of a particular community or musical genre occupying a central place in the ethnomusicological canon.
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ν(comparative musicology)βμ 1950λ
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ν(ethnomusicology)βμ μ리λ₯Ό λ΄μ£Όμλ€. λ리 λ°μλ€μ¬μ§ μ΄ λ³νμ μμΈμΌλ‘ μ μ΄λ λ κ°μ§λ₯Ό μ΄ν μ μλ€. 첫째, νꡬ방λ²μΌλ‘μ βλΉκ΅βλ μμ
λ¬Έν κ°μ μλμ κ°μΉλ μμ€μ λν μ§μ νλ¨μ μμ¬ν μ μλ€. 무μ보λ€, μμ€νꡬ ꡬ미μ μμ μμ
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ν μ°κ΅¬λ€μ νΉμ λ¬Ένμ κ΄ν κ²μ΄μ΄μ, νΉμ μ¬νλ μμ
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