204 research outputs found
Indonesia's Gamelan music - Lecture and performance
No full textItem consists of a digitized copy of a video recording of a Vancouver Institute lecture given by Michael Tenzer on November 22, 2008. Original video recording available in the University Archives (UBC VT 1719).Arts, Faculty ofMusic, School ofUnreviewedFacult
Michael Tenzer, ed., Analytical Studies in World Music
No full textPour Michael Tenzer, professeur de musique à l’Université de Colombie britannique et spécialiste (analyste et interprète) de musique pour gamelan, la réunion des textes proposés dans cet ouvrage a deux objectifs : construire une théorie de la musique dans le monde qui s’émancipe des oppositions entre musiques « classiques » et « populaires », « occidentales » et « non occidentales », c’est-à-dire jeter les bases d’une théorie générale de la musique et, pour ce faire, montrer que l’analyse mus..
Henri Temianka Correspondence; (tenzer)
No full textThis collection contains material pertaining to the life, career, and activities of Henri Temianka, violin virtuoso, conductor, music teacher, and author. Materials include correspondence, concert programs and flyers, music scores, photographs, and books.https://digitalcommons.chapman.edu/temianka_correspondence/4202/thumbnail.jp
Henri Temianka Correspondence; (tenzer)
No full textThis collection contains material pertaining to the life, career, and activities of Henri Temianka, violin virtuoso, conductor, music teacher, and author. Materials include correspondence, concert programs and flyers, music scores, photographs, and books.https://digitalcommons.chapman.edu/temianka_correspondence/4204/thumbnail.jp
Henri Temianka Correspondence; (tenzer)
No full textThis collection contains material pertaining to the life, career, and activities of Henri Temianka, violin virtuoso, conductor, music teacher, and author. Materials include correspondence, concert programs and flyers, music scores, photographs, and books.https://digitalcommons.chapman.edu/temianka_correspondence/4203/thumbnail.jp
Architect Antonín Tenzer
No full textThe work of Antonin Tenzer involves his activities in the period of six decades in the turbulent era of development of Czechoslovak history of architecture. The architect is known as one of the representatives of the avant-garde and High functionalism, author of Faculty Hospital in Prague-Motol and other medical buildings or the Jalta hotel, a building associated with socialist realism. In my dissertation, I tried to map the main typological fields that Antonín Tenzer used in his work. My goal was to widen the portfolio of famous buildings, and on the basis I defined the architect's major themes and current issues, which were responded in his effort. I based primarily on historic materials - published projects, plan documentation and writings of public and private archives, as well as personal heritage, made available to me by the architect's family. In particular thematic areas I focused on Tenzer's vital and successful implementation of competition projects, which he later followed and extended. In addition to impulses from his collaborators, debates and majors works of those days I was looking for elements and methods of Tenzer that influenced the architecture environment. I observed the influence of historical events and the socio-political situation in his work, for example, housing issues in..
Gamelan Gong Kebyar. The Art of Twentieth-Century Balinese Music, Michael Tenzer
No full textCet ouvrage vient à point nommé pour combler un vide dans la bibliographie, en prenant la suite de l’œuvre de Colin McPhee (1966), à laquelle manquait le Kebyar, qui à l’époque de son séjour à Bali (années 1930) n’en était qu’à ses prémices. Pour le seul Kebyar, le livre de Michael Tenzer est encore plus volumineux et plus détaillé que l’anthologie de McPhee. Et pour cause, le style Kebyar combine tous les styles des répertoires antérieurs et y ajoute des innovations. Quant à l’instrument, le..
Gamelan Gong Kebyar. The Art of Twentieth-Century Balinese Music, Michael Tenzer
No full textCet ouvrage vient à point nommé pour combler un vide dans la bibliographie, en prenant la suite de l’œuvre de Colin McPhee (1966), à laquelle manquait le Kebyar, qui à l’époque de son séjour à Bali (années 1930) n’en était qu’à ses prémices. Pour le seul Kebyar, le livre de Michael Tenzer est encore plus volumineux et plus détaillé que l’anthologie de McPhee. Et pour cause, le style Kebyar combine tous les styles des répertoires antérieurs et y ajoute des innovations. Quant à l’instrument, le..
Chasing the Phantom
No full textBalinese composer Dewa Alit (b. 1973) splits his time between home and abroad, absorbing many kinds of music. His latest gamelan work (2016) isNgejuk Memedi, from the Balinesengejuk, to chase, andmemedi, a feared phantom of the Balinese unseen world that takes human form. It animates his evolving desire for a “broader conception of what gamelan is, one based on its relationship to other cultures” (Alit in Tenzer 2011, 134), while submitting to the phantom-like elusiveness of the goal. In analyzing part ofNgejuk Memedi, this article argues for an emergent musical supra-culturalism embedded in innovative rhythmic practices. In Alit’s case, three strata of metrically dissonant parts are superposed in a continually changing relationship. His procedures are suggestive of those of other contemporary musicians from around the globe, whose kinship with Alit comes into focus once one delimits the intellectual and aesthetic desiderata they have challenged themselves to explore. Often notated by composers but transmitted and performed orally, such music is highly conceptual but deeply embodied in felt groove. Its signature element is the juxtaposition or layering of complex, asymmetrical periodicities that are rare or unknown in source traditions, but trace to ideas circulating from African, Indian, Western and other art musics that have become common currency. In these intersecting senses, they comprise a new phenomenon.</jats:p
One Fusion Among Many: Merging Bali, India, and the West through Modernism
No full textThe relationship between world music traditions and modernist art music in the European tradition is often explored in composers’ musical fusions, but the motivations and aesthetics of such works often receive less notice than those grounded in post-modern (minimalist, popular music) approaches. In this essay the author asserts a particular relationship between rigorous modern composition technique and the highly rational patterning of Indonesian and Indian music, and follow this with analysis of Unstable Centre/Puser Belah (2003) a work composed for two simultaneous Balinese gamelan. The analysis demonstrates fusion at detailed levels of pattern and structure, but the article closes with a self-critical assessment of the venture.Le rapport entre les traditions musicales du monde et la musique de concert moderniste de tradition européenne est souvent exploré dans des fusions musicales proposées par des compositeurs, mais les motivations et les esthétiques de ces oeuvres reçoivent souvent moins d’attention que celles qui s’imprègnent d’approches postmodernes (qu’elles soient minimalistes ou d’affiliation populaire). Dans cet article, l’auteur affirme un rapport entre certaines techniques rigoureuses de la musique contemporaine occidentale et les organisations cycliques, très rationnelles, de la musique indonésienne et indienne. Il poursuit avec une analyse de Unstable Centre/Puser Belah (2003), une oeuvre que l’auteur a composée pour deux orchestres gamelan simultanés. L’analyse démontre une fusion sur les plans du cycle et de la structure, mais l’article se termine par une évaluation autocrique du projet
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