The complex notion of rasa, as understood by Javanese musicians, refers to a combination of various qualities, including: taste, feeling, affect, mood, sense, inner meaning, a faculty of knowing intuitively, and deep understanding. This leaves us with a number of questions: how is rasa expressed musically? Who or what has rasa, and what sorts of musical, psychological, perceptual, and sociological distinctions enter into this determination? How is the vocabulary of rasa structured, and what does this tell us about traditional Javanese music and aesthetics?
The complex notion of rasa, as understood by Javanese musicians, refers to a combination of various qualities, including: taste, feeling, affect, mood, sense, inner meaning, a faculty of knowing intuitively, and deep understanding. This leaves us with a number of questions: how is rasa expressed musically? Who or what has rasa, and what sorts of musical, psychological, perceptual, and sociological distinctions enter into this determination? How is the vocabulary of rasa structured, and what does this tell us about traditional Javanese music and aesthetics?Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Marc Benamou is Associate professor of music at Earlham College; his writings interweave aesthetics with various other domains, such as gender, food, language, ornithology, and ethics; has performed extensively in Java and abroad as a vocalist of traditional Javanese music, and has founded and directed a number of gamelan ensembles in the U.S.
Inhaltsangabe
* Preface * Technical Notes * Chapter 1: The Musical Scene in Solo * Chapter 2: The Taste of Music: Rasaning Gendhing * Chapter 3: The Classification of Rasa Gendhing * Chapter 4: Having Rasa, Part 1: Linguistic and Cultural Perspectives * Chapter 5: Having Rasa, Part 2: Musicianship * Chapter 6: The Communication of Rasa, Part 1: General Considerations of Expression and Perception * Chapter 7: The Communication of Rasa, Part 2: Garap and Other Factors Contributing to Specific Rasas * Chapter 8: Why Rasa Talk Matters * Appendix A: Classifications of Rasa Gendhing from Oral and Written Sources * Appendix B: How Iråmå Works * Glossary * Bibliography * Dictionaries and Glossaries * Corpus: Works Having Citations of Rasa Terms as Used by Javanese Experts in Music and Related Arts * General Works * Discography of Recordings Referred to in the Text * Index
* Preface * Technical Notes * Chapter 1: The Musical Scene in Solo * Chapter 2: The Taste of Music: Rasaning Gendhing * Chapter 3: The Classification of Rasa Gendhing * Chapter 4: Having Rasa, Part 1: Linguistic and Cultural Perspectives * Chapter 5: Having Rasa, Part 2: Musicianship * Chapter 6: The Communication of Rasa, Part 1: General Considerations of Expression and Perception * Chapter 7: The Communication of Rasa, Part 2: Garap and Other Factors Contributing to Specific Rasas * Chapter 8: Why Rasa Talk Matters * Appendix A: Classifications of Rasa Gendhing from Oral and Written Sources * Appendix B: How Iråmå Works * Glossary * Bibliography * Dictionaries and Glossaries * Corpus: Works Having Citations of Rasa Terms as Used by Javanese Experts in Music and Related Arts * General Works * Discography of Recordings Referred to in the Text * Index
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