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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