|
UPSI Digital Repository (UDRep)
|
|
| ||||||||||||||||||||
| Abstract : Universiti Pendidikan Sultan Idris |
| This article explores the transformative power of musical instruments on pedagogical strategies within music ensembles, with a focus on world music ensembles at the tertiary level. Drawing from my unique perspective as an international graduate student in the U.S. and having had no prior exposure to world music ensembles, I share my experiences with the saron metallophone from the Javanese gamelan and the mṛdaṅgam, the principal rhythmic instrument of South Indian Karṇāṭak music ensemble. I argue that the interaction of sound between instruments and learners offers a deeply enriching, immersive educational journey. Recognizing this sonic interaction broadens our understanding of world music education and suggests that instruments inherently carry pedagogical value. By embracing this notion, educators can cultivate a more holistic teaching methodology, enhancing the pedagogical landscape within and beyond world music ensembles.
Keywords: Javanese gamelan, mṛdaṅgam, music education, performance pedagogy,
world music ensembles
|
| References |
Bates, E. (2012). The social life of musical instruments. Ethnomusicology, 56(3): 363-395. Bennett, J. (2010). Vibrant matter: A political ecology of things. Duke University Press. Brashier, R. (2013). In Gamelan you have to become one ‘Feeling’: Sensory embodiment and transfer of musical knowledge. Ethnomusicology Review, 18. Brown, R. E. (1997, September). Interview with T. Viswanathan, and Jody Cormack. Call Number WA9.4.306-307. Wesleyan World Music Archives. Middletown, Connecticut. Audio Cassette. Campbell, P., Coppola, W. J. & Hebert. D. G. (2021). World music pedagogy, volume VII: Teaching world music in higher education. Routledge. Crossley, N. (2022). From musicking to music worlds: On Christopher Small’s important innovation. Music Research Annual, 3, 1-24. Devnath, L. (2003). Sivaraman uvaacha. Sruti Magazine, 224, 41-47. https://www.sruti.com/ Harnish, D. (2004). “‘No, not ‘Bali Hai’!’: Challenges of adaptation and orientalism in performing and teaching Balinese Gamelan.” In Ted Solis (Eds.), Performing ethnomusicology: Teaching and representing in world music ensembles (pp. 126-138). University of California Press. Hesselink, N. (2004). Samul nori as traditional: Preservation and innovation in a South Korean contemporary percussion genre. Ethnomusicology, 48(3), 405–439. Hood, M. & Trimillos, R. (2004). Afterword. Some closing thoughts from The First Voice. In Ted Solis (Eds.), Performing ethnomusicology: Teaching and representing in world music ensembles (pp. 283-288). University of California Press. Hood, M. (1971). The Ethnomusicologist. McGraw Hill |
| This material may be protected under Copyright Act which governs the making of photocopies or reproductions of copyrighted materials. You may use the digitized material for private study, scholarship, or research. |