Notebook Archive

WEEK 2

Alicia

Insan
Performing Arts in The Bahamas
MS Subalakshmi- carnatic musician from tamil nadu (1916-2004)
Language
Music within my family
Dangdut (/dɑːŋˈduːt/) is a genre of Indonesian dance and folk popular music originated from Java. Dangdut is partly derived and fused from Hindustani, Arabic, Malay music, and to lesser extent, local folk music.[1][2][3] Dangdut is a most popular musical genre in Indonesia[1] and a very popular in other Malay World countries as well because of its melodious instrumentation and vocals.[4][5] Dangdut features a tabla and gendang beat.[1]

MUSIC
https://www.acharyanet.com/carnatic-music/
"In the performing arts, Bahamian music developed a distinctive identity called Goombay music. The derivation of the word is West African, from an African drum called “goom-ba”. This early style of music was typical for both song and dance. This music was preeminent before pop or electronic music."


"Two exponents of this type of music were Blake Alfonzo Higgs (1915) or “Blind” Blake and George Symonette.
During this particular era of Goombay, “Blind” Blake’s music on the six stringed guitar told of significant events in Bahamian history. His more than 30 years at the Royal Victoria Hotel gave him a reputation of being a Bahamian troubadour." (...)
Funkot (short for Funky City) is a genre of electronic music that was born in the 1990s. This music is a mix of House music with a tempo of 160 to 220 bpm (beats per minute). There are many other names for this genre, namely "Hardfunk", "House Kota", "Indonesian House", and "Indonesian Hardcore".[8][12][13]
https://www.youtube.com/watch?v=1yHn6QTV9uU
MS Subalakshmi live signing bhaja govindam and vishnu sahasrananm
Modern interpretations of dangdut/funkot and traditional Indonesian music:


Gabber Modus Operandi:

The hard, fast, abrasive club sounds they have been making since 2018 owe a lot to both Indonesia’s aforementioned heavy metal obsession and gamelan — percussion-based, traditional ritualistic music that plays a similarly integral part in the country’s culture. “Indonesia definitely isn’t the kind of place where you can call the police if someone is being loud,” Kas laughs. “Metal, punk, noise — the tolerance of loudness is high, because gamelan has been such a big part of society for centuries.” Despite the name, the pair are quick to stress that their music isn’t actually gabber — certainly not in the traditional European sense.

Swapping nihilism for something altogether more optimistic, Kas summarises their sound as a “retranslation of gabber and hardcore culture” into music that Indonesian audiences can relate to. Rather than sampling gamelan, they make tracks using traditional gamelan scales, ending up with rhythms so fast that they “somehow flip you out”.
"Spoken word", "Black power", "sensibility", "urgency"
The music of Indonesia its cultural diversity, the local musical creativity, as well as subsequent foreign musical influences that shaped contemporary music maybe scenes of Indonesia. Nearly thousands of Indonesian islands having its own cultural and artistic history and character.[1] This results in hundreds of different forms of music, which often accompanies by dance and theatre.

Traditional regional musics and songs of Indonesia natively compromises of strong beat and harmony type musics with strong influence of Indian and Malay classical music. The influence is strongly visible in the traditional popular music genre of Dangdut.[3][4][5]
Goombay is also referred to in connection to the Junkanoo Festival in the Bahamas.
Sidenote from Insan:
Indonesia characterises itself by its huge cultural diversity. Traditional music have characteristics that differ per region/city. "Indonesian traditional music" does not exist because Indonesia as a country is a new concept. It's diverse and broad to be put into this term (and don't even let me start about the term "World Music")
basics of carnatic music for you to get an idea of how its structured- https://www.karnatik.com/beginners.pdf
Me and my dad performing at a boat party.
Sidenote from Insan:
Major influences from Arabic music because of the long history of trade, a lot of this music has connections with the islam as well, interesting contraposition of speaking of islam values and hedonism/sex.

Seen as "village-people music" or low-brow or poor people music.
Sidenote from Insan:
Big Euro-dance influences, I wonder why that is (or specifically, why then)? Maybe look into the history of the influence of western music on Indonesian music?
Sidenote from Insan:
Counter movement: going back to what we already have instead of copying from the West.
sam
the most common thalam structure used- its called aadi thalam and we use it keep track of the speed mainly
i can't find any other diagram of it that makes sense but this is sort of close enough

LANGUAGE
Bahasa Indonesia
/bəˈhɑːsə ˌɪndəˈniːʒə/

noun
the Austronesian language, closely related to Malay, that is the official language of Indonesia.
Indonesian is a form of Malay, spoken in Indonesia. The term “Indonesian” is political rather than linguistic, as Indonesian Malay (called Bahasa Indonesia in Indonesia) is virtually identical with Bahasa Melayu, another variety of Malay, as spoken in Malaysia, Singapore and Brunei. The term “Indonesian” was adopted in the beginning of the 20th century, as Indonesian became the national language of Indonesia.
Indonesian belongs to the Austronesian language family. The Austronesian language family is one of the largest linguistic families of the world. According to the most widely accepted classification of the Austronesian languages, Indonesian belongs to the Western branch of the Malayo-Polynesian group of the Austronesian family. According to Ethnologue, Indonesian is classified in the following way: Indonesian < Local Malay < Malayan < Malaic < Sundic < Western < Malayo-Polynesian < Austronesian. Related languages include Javanese, Madurese, and Sundanese.
It is believed that the homeland of Malay was in Sumatra (western Indonesia), and proto-Malay people came there shortly before the beginning of our era. The earliest texts, written in an archaic form of Malay, date back to the 7th century AD. These early texts (stone inscriptions) were written in the ancient Pallavi script, which evolved out of southern varieties of Indian Brahmi script. They were created in the early stages of the Srivijaya empire, a powerful Buddhist state, and one of the most powerful states and main cultural centers of that time. Its capital was Palembang, one of the largest cities of that time. In the course of time Srivijaya declined, and was succeeded by other empires, the most extensive of which was the one established by the successors of prince Vijaya, with the capital Majapahit. This empire underwent a major crisis in the middle of the 15th century, and gradually disintegrated. In the 15th century Indonesia adopted Islamic faith, and has been predominantly Islamic until the present day.

During the epoch of Srivijaya and other empires, Indonesia was an important trade center, and Malay emerged as the main trade language of the region. In the course of time, under influence from the languages of traders of non-Indonesian origins, such as Arabic, Chinese, later also Western European (Portuguese and Dutch), this language underwent major changes, becoming essentially a pidgin language. The Malay spoken by traders, was generally called “bazaar Malay”. On the contrary, the Malay as spoken in the Indonesian court remained more or less unaltered. Court Malay is considered “classical Malay” and is the language in which the large corpus of medieval Malay literature was written. The beginning of the 20th century marked the beginning of a new era for the Indonesian language. In 1928, the Indonesian Youth Congress took place in Jakarta, and in this Congress it was decided that Indonesia should have an official national language, which would thenceforth be called “Indonesian” (bahasa Indonesia). As the base for this language, classical Malay was selected. The pronunciation of Jakarta was chosen as the standard Indonesian pronunciation. (Source:
Language Materials Project http://www.lmp.ucla.edu/Profile.aspx?LangID=89&menu=004)
Indonesian is a new language, a language that exists for less than 100 years. Indonesia is an immense country (bigger than the continent Europe), and there are many many dialects, just like in the diversity with music. In general my friends speak in their local dialect; it's a source of pride and my friends always say that if you speak in a local dialect to a vendor they will treat you nicer.
carnatic is not only a vocal technique but its always accompanied and followed in instruments like veena, mridangam, flute and tambura like mentioned.
Lots of Portugese and Dutch words are adopted in Indonesian and these have to do with the inventions/new things they brought to the country, like the Portugese "greja" (church) and "sepatu" (shoes), or the Dutch "knalpot" (uitlaat).
veena
mridangam


carnatic
https://www.youtube.com/watch?v=aj9aLW3S9-s
Researching about percussion patterns in the music of our cultural roots
MUSIC; PERCUSSION
Next step:
Focus on:
- What are the different percussion instruments?

- What are the different percussion patterns?

- How is percussion notated/communicated?

WEEK 3
First step:
First step:
MUSIC & LANGUAGE
We decided on these 2 themes to research on in relation to our own cultural background.
What did we find out?

Mridarangam- a percussion instrument used in carnatic music
Continued Research into Music: Researching about percussion patterns in the music of our cultural roots
kuthu (dappankuthu)- folk dance and music genre with an emphasis on percussion from tamil nadu
kuthu
Language
Drum precussions in tamil music
What are the different percussion instruments?


jay
A related instrument is the Kendang, played in Maritime Southeast Asia.
Also a Pakhavaj which is a modified version is used in Hindustani music, is more similar to a kendang based on the shape.
kawina
https://pan-african-music.com/en/kawina-coups-and-sranan-soul-a-brief-history-of-surinamese-music/
Calypso Steel Drum

KENDHANG
Goombay Drums
https://www.duniakana.com/34-indonesian-traditional-musical-instruments-and-how-to-play-them/
"In The Bahamas we didn't have the big tree trunks so we improvised. We used beef and pork and lard barrels or kegs to develop the drums. The beef kegs gave off a deep bass sound. The pork kegs were the baritone drums and the lard kegs were the tenors.

"What did develop was a rich, vigorous rhythm that is heard nowhere else in the world. And we can't trace it back to any one African tribe or group."
As expected loads of instruments have close resemblances to instruments in South-Asia, Middle East and China.

Shows again the importance of trade routes in forming culture.

Different parts of Indonesia show different kinds of instruments which has to do with what kind of trade routes they had or what kind of people immigrated there.

A lot connections with islam.
"You just can't find the boards now," he laments, referring to the wooden salt beef kegs drummers used to use.

"So we had to find new ideas and we tried the skins on tin barrels, small paint tins and the like. The paint cans were for the kids, and as they grew bigger we made bigger drums for them.

"These drums have taken me around the world, and I just enjoy playing, whether it's for the visitors, for charity work or schools."


Roots: India

BEDUG
The drum itself came from India and China, brought by those who had previously stopped in the archipelago. In the place of origin, the drum serves as a means of communication for religious rituals placed in temples. Meanwhile in Indonesia, the majority religion is Islam. The function of the drum fuses and becomes an inseparable part of the mosque as a sign that the time for prayer has arrived.
What are the different percussion patterns?
https://schooltv.nl/video/surinaamse-percussie-de-ritmes-van-kawina/
kaseko
- One voice/individual voices?

- Show the research in endwork or not?

- What do we want the function of the work to be?

- Do we want it to be random? Do we want to tell a story?
the relation of the therapeutic effect of music and the importance of music among native/diasporic bipoc
What room?

Interaction station small room?
Dark room for photography (dark)
Photography studio? (dark)
Cinema room?
Editing rooms?



- One voice/individual voices?
Both.

- Show the research in endwork or not?
No, we only have the sound. We can use the title or something.

- What do we want the function of the work to be?
Research showed drumming occurs in all cultures as a healing practice, kind of replicate that experience.

- Do we want it to be random? Do we want to tell a story?
Research and context will be in the video.
End product:
A 4-speaker sound installation that showcases 4 different percussion instruments and percussion patterns that is culturally specific to our ancestry (India, The Bahamas, Surinam, Indonesia)
What do we need to do?
- Find a room and book it let the teachers book it. (done)

- Send Brigit email (what we're doing, if she can help us/show us how it works, explain about the 4 individual drum patterns on 4 seperate speakers (Alicia) (done - waiting for reply)

- Decide what drums we want to use and percussion patterns (individually)

- Find 4 audiofiles preferably in WAV that shows our drum pattern/instruments. (individually)

- Loop audiofiles in Ableton (Insan can help with that on Tuesday)

- Record zoom meeting for process video. (Tuesday or Wednesday)



kawina drum - played with drumstick on one side and hand on other side
kwa kwa bangi - base rhythm played with sticks
Audre Lorde and May Ayim: Both poets that played big roles in the afro-german movement in Germany
"What happened when the message (...) is addressed to an audience engages in a different sound dynamics?"
https://www.nytimes.com/1977/08/31/archives/music-irresistible-junkanoo-drums.html
"The steel drum evolved from the tunable tamboo-bamboowood sticks that African slaves in Trinidad used to communicate with one another, and it became an important instrument in Trinidadian Carnival road marches in the late 1930s."
Article on the materials used by John Chapman for drums in the Bahamas
His drums are made from containers from the cruise ships originally used for detergents or cleaning fluids. The maracas are fashioned from plastic orange juice bottles with pigeon peas inside. "We don't have to go to the music shops," says Chipman.

Bahamian musicians soak the skins in lime water for one or two days to get the hair off, explains Chipman, but every country has its own method. In Jamaica they rub hot sand on the skin and scrape the hair off with a board or stick. In other countries they shave it off with a piece of broken bottle or a razor, he says.

"I provide drums for the whole island - the schools, Junkanoo groups, all the bands. I make drums every day, year-round. We have goombay drums in all the schools now. I can make seven or eight drums a day. From October to January I can't make them fast enough."
John "Chippie" Chipman and his group, Chippie and the Boys, welcome cruise ship passengers at Festival Place on Prince George Dock with their brand of traditional Bahamian music. Chipman has been making and playing drums for 55 of his 75 years.
Now over the past 15 to 20 years, most drummers in The Bahamas have switched to metal drums
"In listening to the various styles of Bahamian music, the music of goombay lends itself to a wider variety of rhythmic nuances, tempos, and meter variations. The goombay artist of the past incorporated the goombay beat in ballads, waltzes, calypsos, and big band jazz, among other styles. Although the goombay style of playing music has lost its popularity in the Bahamas, this is believed by many – the author included—to be the true dance music of the Bahamas."
http://216.92.146.44/Paper/gmbay.html
Highly rhythmical, the patterns in goombay drumming are similar in complexity to jazz improvisation. The 'licks' as they are called in jazz literature, are of an oral tradition, passed on from generation to generation. With as many sounds as the spoken word, the task of notating these complex rhythms is quite arduous. With just one drum, the goombay drummer is able to play many different timbres and incorporate a wide range of dynamics, thus making it almost impossible to notate with the current European notation symbols.
Goombay drums played during a Junkanoo Festival
A type of Goombay drum with hand-carved drawings
Traditional Bahamian music genres:

Goombay and Rake n' Scrape
Rake n' Scrape
Do we have text explaining which percussion matches with which audio or not?
- No, because it's about the cultural commonground of percussion as a healing experience and the use of percussion in spiritual practices.
How to build a 4-channel installation, using Max
Needed:
- 4 speakers,
- 4 cables (speaker inputs: XLR or TRS)
- Max
- Audio interface with 4 outputs



skratjie - drum with small pelvis on top. used in kaseko music
Carnatic music, known as Karnāṭaka saṃgīta or Karnāṭaka saṅgītam in the South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala and Tamil Nadu, and Sri Lanka. It is one of two main subgenres of Indian classical music that evolved from ancient Sanatana dharma sciences and traditions, particularly the Samaveda. The other subgenre being Hindustani music. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style. Carnatic music is mainly sung through compositions, Telugu is the most common language with most compositions being in Telugu or Sanskrit, with a few in Tamil.

It is usually performed by a small ensemble of musicians, consisting of a principal performer (usually a vocalist), a melodic accompaniment (usually a violin), a rhythm accompaniment (usually a mridangam), and a tambura, which acts as a drone throughout the performance. Other typical instruments used in performances may include the ghatam, kanjira, morsing, venu flute, veena, and chitraveena. The greatest concentration of Carnatic musicians is to be found in the city of Chennai.
A few famous singers of this style include: MS Subalakshmi, P. Unnikrishnan, TM Krishna
a few famous composers: Thyagaraja Swami, Purandara Dasa, M. D. Ramanathan
bass drum used in winti
Suriname, one South America’s most ethnically diverse countries, with over a third of its citizens of Afro-Surinamese origin, is a Pan-African focal point. Centuries of colonisation, slavery, exploitation, and independence movements have brought together peoples of many origins, creating a uniquely Surinamese musical identity as rich and diverse as its population. Looking into Suriname’s complicated and difficult history, from colonial imposition to a modern day democratic transition, we note the movements and systems that shaped Suriname’s musical landscape.
It is one of several popular genres in film music, mainly in Tamil cinema and other South films, filmed and produced by people of Tamil culture. It was also used in used in the songs "Boyz" and "Bird Flu" by M.I.A. on her 2007 album Kala.
https://www.youtube.com/watch?v=6Kq16GAuNcg
The main instrument used is the percussion instrument called Tharai thappattai in Tamil, without the jingles, is often used for dappankuthu or similar dance forms. Unlike normal tambourines, this requires a wooden stick to play. The urumee drum is also often used. A customised trumpet (called Nadaswaram locally) is also sometimes employed. The rhythm of the dappankuthu is often signified by a mix of beat patterns layered and flowing into one another. Other percussion instruments may be employed in dappankuthu. A similar instrument called TamaTe in Kannada resembling a Ganesh tambourine is also used for such dance forms in border areas such as M.M. Hills.
tharai thappattai
urumi drum
traditional surinamese music used in spiritual/healing practices/religion
winti
Winti is an Afro-Surinamese traditional religion that originated in the colony Suriname, part of the Dutch Empire. It is a syncretization of the different African religious beliefs and practices brought in mainly by Akan and Fon slaves during the slave period. The religion has no written sources, nor a central authority. The term is also used for all supernatural beings or spirits (Wintis) created by Anana, the creator of the universe.
Kaseko is a musical genre from Suriname. It is a fusion of numerous popular and folk styles derived from Africa, Europe and the Americas. It is rhythmically complex, with percussion instruments including skratji and snare drums, as well as saxophone, trumpet and occasionally trombone.
(my uncle)
Final form + EQ's here: