![]() ![]() It also reviews its prehistory, to clarify the connections or lack thereof between Western-oriented scenes in Jogjakarta and Jakarta, and one traditionally-based scene in It documents its emergence in the 1970s in two This dissertation presents an overview of musik kontemporer as a whole, and accounts for Modernist or experimentalist, but there is also work by those who, in drawing upon moreĬonventional idioms, including those from the realm of pop, take a more eclectic approach. The most exemplary work is single-mindedly Instruments and the musicians that play them. Western-oriented composers have “gone nativist,” writing also for traditional Indonesian Have followed a different path to musical modernism and becoming cosmopolitan. Traditionally-based composers, who with foundations in gamelan and other regional traditions Internationalization of twentieth-century avant-gardes” (Born 2000). Western-oriented, musik kontemporer is not simply the Indonesian instance of “the But while its name derivesįrom European-language terms, and some of its practitioners are aptly characterized as ![]() Indonesian musik kontemporer corresponds to what in anglophone contexts is calledĬontemporary music, or more precisely contemporary art music. ![]() Requirements for the degree of Doctor of Philosophy Cultural Dynamics in Indonesian Musik KontemporerĪ Dissertation submitted to the Faculty of Wesleyan University in partial fulfillment of the ![]()
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