The musical style associated with the bamboo frame rattle
embodies the egalitarian cooperation so essential for the agriculture that
people in West Java
for centuries. In the early twentieth century, Indonesian nationalists
reimagined the sound of the angklung to index a connection to a distinctly
Sundanese modern identity rooted in rural values.
The kind of angklung ensemble now popular in Indonesian
schools and universities, which was designated an item of intangible heritage
by UNESCO in 2010, is an elaboration of the innovations of the Sundanese music
educator Daeng Soetigna.
Current incarnations of angklung ensembles feature large numbers of performers,
often playing arrangements of classical and popular hit songs as well as
well-known Indonesian songs.
Angklung’s persistent appeal to Sundanese citizens has much
to tell us about the relationship of humans to the places in which they live,
the social structures that sustain them, and the strategies they concoct to
remain grounded in a changing world.
This according to “From the rice harvest to Bohemian
rhapsody: Diachronic modernity in angklung performance” by Henry Spiller,
an essay included in Making waves: Traveling musics in Hawaiʻi,
Asia, and the Pacific (Honolulu: University
of Hawaiʻi Press, 2018, pp. 19–38).
Karinding Attack is a group from Bandung, West Java, that performs original songs, covers international death metal hits, and engages in collaborations with musicians who specialize in other genres—all to the accompaniment of Sundanese bamboo musical instruments that were virtually extinct only 20 years ago.
After the Sundanese people’s embrace of a hegemonic modernity in the 20th century relegated these instruments to obscurity, their efflorescence represents an alternative modernity in which, instead of adopting disdain for their own past as the primitive Other against which European hegemonic modernity is constructed, Sundanese people construct their own history against which to articulate a coherent Sundanese modernity.
This according to “Heavy metal bamboo: How archaic bamboo instruments became modern in Bandung, Indonesia” by Henry Spiller, an essay included in Studies on a global history of music: A Balzan musicology project (Abingdon: Routledge, 2018, pp. 241–55).
Bengawan Solo (Solo River) was written by the kroncong singer Gesang Martohartono (above) in September 1940. A tribute to the beauty and significance of the river for the common people, the song subsequently assumed national importance, symbolizing the struggle for independence during the Japanese occupation of Java (1942–45).
The first widely popular song by an Indonesian composer written in Bahasa Indonesia, the Malay-based national language adopted by independent Indonesia, Bengawan Solo now evokes images of Indonesian revolutionary fighters to whom homage must be given. The song has spread throughout Southeast Asia, and it has even become popular in Japan and China, making it a potent symbol of pan-East/Southeast Asian identity.
This according to “The pan-East/Southeast Asian and national Indonesian song Bengawan Solo and its Javanese composer” by Margaret J. Kartomi (Yearbook for traditional music XXX  pp. 85–101).
In 1882 Sadiq Muhammad Khan Abbasi IV, Nawāb of Bahawalpur, anonymously commissioned a bed in rosewood covered with about a third of a ton of chased and engraved sterling silver from La Maison Christofle in Paris. The bedposts were four life-size … Continue reading →
What could a late–19th-century Viennese symphonic genius and an early–21st-century African American pop star have in common? A blood line, according to recent research that has led to the conclusion that Beyoncé Knowles is Gustav Mahler’s eighth cousin, four times … Continue reading →
In an experiment, male and female college undergraduates made and viewed videotaped presentations that included stating a preference for classical music, country music, soft rock, or heavy metal. These preferences were found to influence heterosexual attraction in specific ways. Devotion … Continue reading →
The first meeting and interchange between Māori and Europeans was a musical one. As the Dutch explorer Abel Tasman and his party sailed toward the coast of Aotearoa (now New Zealand) on a December evening in 1642, they saw canoes … Continue reading →