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영어
The aim of this research is to describe the ethnography of gamelan music of shadow puppet theatre as cultural phenomena and as a social practice. I draw upon Piere Bourdieu’s notions of habitus, physical capital, and cultural capital. The main focus of this research is examining threefold distinction between individual habitus, institutional habitus, and ethnomusicological habitus. Memory is embodied through repeated gesture. The disciplined and rehearsed body of the gamelan musician is one of the most significant resources in the conduct of gamelan music. In this paper I explore some of these issues to make sense of embodied work of gamelan music performance, drawing on my ethnography of the shadow puppet theatre.
목차
Abstract
Introduction
The Important of Gamelan Music in Shadow Puppet Theatre
Ayak – Ayak Slendro Pathet Nem (ASPN)
balungan notation played by slenthem, demung, saron, and peking.
Mlesed and Nggandhul as Space and Performing Time
Mlesed and Nggandul: An Aesthetic Construction
Nggandhul, Mlesed, and Rasa Karawitan
Habitus, Ngeng and Embodiment
Conclusion
Acknowledgments
References
Introduction
The Important of Gamelan Music in Shadow Puppet Theatre
Ayak – Ayak Slendro Pathet Nem (ASPN)
balungan notation played by slenthem, demung, saron, and peking.
Mlesed and Nggandhul as Space and Performing Time
Mlesed and Nggandul: An Aesthetic Construction
Nggandhul, Mlesed, and Rasa Karawitan
Habitus, Ngeng and Embodiment
Conclusion
Acknowledgments
References
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자료제공 : 네이버학술정보