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| Historical Contexts and Theories of Javanese Music | ||
| 作者 | Sumarsam |
|---|---|
| 出版日期 | 1992 |
| 頁次 | 483 |
| 出版者 | Cornell University |
| 出版者網址 | https://www.cornell.edu/ |
| 出版地 | Ithaca, NY, US [伊薩卡, 紐約州, 美國] |
| 資料類型 | 博碩士論文=Thesis and Dissertation |
| 使用語言 | 英文=English |
| 學位類別 | 博士 |
| 校院名稱 | Cornell University |
| 系所名稱 | Musicology |
| 畢業年度 | 1992 |
| 關鍵詞 | Indonesia; Java; Court music; Gamelan; Cultural studies; Religion; Religious music; Hinduism; Islam; Sufism; Literature; Music; History; Development; Ethnomusicology; Sumarsam |
| 摘要 | Examines the history and theory of Javanese music，especially the gamelan of the Central Javanese court. Continuous exposure of the Javanese to foreign cultures resulted in rich variants in the contexts and contents of Javanese music and in the development of theories of gamelan works (gendhing). Syncretism between Hindu-Buddhism and Islamic Sufism and Javanese systems of belief took place，producing the indigenous patterns of Javanese life. But the increased exposure of the Javanese to Western cultures and Islamic reform in the 19th c. resulted in new Javanese perspectives and the breakup of old，indigenous patterns of life，contributing to new contexts for Javanese arts and literature. The relationship between Javanese elites and Europeans, Indonesians, and Chinese contributed to these innovations, which led to the institutionalization of the study of Javanese culture. Both the Javanese elite and the Europeans treated court gamelan as analogous to European art music. Several literary texts are examined and compared with European and contemporary Javanese sources. They provide evidence of the cultural contexts, changes, and innovations in Javanese arts as well as information on the indigenous perspectives on gendhing. |
| 點閱次數 | 119 |
| 建檔日期 | 2001.05.25 |
| 更新日期 | 2016.06.22 |
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