By Marc Benamou

ISBN-10: 0195189434

ISBN-13: 9780195189438

The complicated suggestion of "rasa," as understood through Javanese musicians, refers to a mix of varied characteristics, together with: flavor, feeling, have an effect on, temper, experience, internal which means, a college of figuring out intuitively, and deep knowing. This leaves us with a couple of questions: how is rasa expressed musically? Who or what has rasa, and what kinds of musical, mental, perceptual, and sociological differences input into this choice? How is the vocabulary of rasa based, and what does this let us know approximately conventional Javanese song and aesthetics?In this primary publication at the topic, Rasa presents an access into Javanese tune because it is conceived by way of the folk who comprehend the culture top: the musicians themselves. in a single of the main thorough explorations of neighborhood aesthetics thus far, writer Marc Benamou argues that musical that means is exceptionally connotative - as a result, not just discovered, yet learnable. Following numerous years acting and studying Javanese track within the local and nationwide cultural heart of Solo, Indonesia, Benamou untangles the various meanings of rasa as a cultured criterion in Javanese song, really in court docket and court-derived gamelan traditions. whereas acknowledging that yes common mental trends may well motivate parallel interpretations of musical which means, Rasa demonstrates simply how culturally particular such accumulated, shared meanings could be.

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Extra resources for RASA: Affect and Intuition in Javanese Musical Aesthetics (Ams Studies in Music)

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It is worth going into in some detail here, since it will help neophytes interpret the notes on the page. 6. Rousseau, in the Confessions (1959 [1770]:271–72) writes as if he had come up with the idea on his own, even though the seventeenth-century system had been reproduced in Brossard’s famous dictionary of music published in 1703. When Rousseau presented his “Projet concernant de nouveaux signes pour la musique” before the Acadèmie des Sciences in 1742, it was criticized for lacking originality (even though it differed in important respects from Souhaitty’s seventeenth-century system).

In order to identify the language or vocabulary set each term was drawn from, I have used the following symbols, enclosed in brackets and directly following the term: A Arabic I Indonesian J Javanese JI Javanese Indonesian (not used in most other dialects of Indonesian) Ng ngoko (low Javanese) K kråmå (high Javanese) KI kråmå inggil (term of highest respect) KA kråmå andhap (term of self-deprecation) KM kråmå madyå (midlevel Javanese) D Dutch E English javanese loan words in english At least two Javanese words have made it into the standard English lexicon.

See, for instance, Sutton in Perlman 1992:17–18. See also chapter 4. My comparatively limited interactions with musicians in 2003 and 2006 seemed to indicate that there is less and less shame associated with relying on notation. 9 10 rasa saron)17 were spent watching and listening, learning the repertoire, and absorbing the musical language in much the same way that children learn languages—that is, through observation, imitation, and participation rather than through conscious analysis. Besides new pedagogical techniques and the increased use of notation, the music schools introduced the most radical departure from accepted practice in recent history: consciously avant-garde music.

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RASA: Affect and Intuition in Javanese Musical Aesthetics (Ams Studies in Music) by Marc Benamou


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