Gender, Age and Musical Creativity

Haworth, Catherine; Colton, Lisa

doi:10.4324/9781315584096

Cited by 2 publications

(1 citation statement)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The process of artistic creation cannot be separated from the life experience of the creator. Haworth and Colton (2015) suggest that ideas come from individual experience, and an artistic creation is a result of an exploration of the body and soul of the artist. Tristuji's music is a result of a cross-cultural intersection of European education and Javanese sensibility, although the last aspect is not always accessible at the conscious level.…”

Section: Trisutji and Javanese Culturementioning

confidence: 99%

Trisutji Kamal’s Loro Jonggrang: A Cross-Cultural Dissonance

Nainggolan¹,

Budianta

Raseuki³

et al. 2022

wacanaseni

View full text Add to dashboard Cite

Trisutji Kamal, whose career spanned five decades, was one of the oldest and longest-performing Indonesian female classical composers. Her music is tinged with a unique character, stemming from the way she inserted Javanese nuances into the Western framework of her art. To discuss this musical style, the authors analysed one of her most well-known compositions in the form of an opera, called Loro Jonggrang. The article examines how the two different musical traditions from the West and Java intersect in her music and her cultural subjectivity. The authors argue that what emerges in her music is a sense of dissonance through the use of pseudo pentatonic, two chords, drone, accents, and beats, connecting Trisutji’s music with her cultural background and life history. The authors contend that the dissonant turn and glissando effect of her music comes from the tension between Western musical forms and Javanese intuition. The article contributes to the rare scholarship about female composers in Southeast Asia.

show abstract

Section: Trisutji and Javanese Culturementioning

confidence: 99%

Trisutji Kamal’s Loro Jonggrang: A Cross-Cultural Dissonance

Nainggolan¹,

Budianta

Raseuki³

et al. 2022

wacanaseni

View full text Add to dashboard Cite

show abstract

Summer’s Gone: Late Style and Popular Music

Graham¹

2021

J. R. Music. Assoc.

View full text Add to dashboard Cite

The Beach Boys’ 2012 album That’s Why God Made the Radio is typically nostalgic, filled with seemingly sunny reminiscences and retreads that hark back to the 1960s. And yet other parts of the album look back in a more critical fashion, exploring unresolved melancholy through a rich musical language. What makes this even more complicated is the fact that it is possible to hear these two ‘sides’ of the album differently, for the retreads to feel like eerie simulations and the melancholy parts to align with earlier, similarly complicated Beach Boys music. This ambivalence embodies the album’s dual relationship with what I describe as the primary strains of late style: Goethean serenity and Adornian intransigence. In exploring this contention and in applying late style to other examples of popular music, notably David Bowie’s 2016 album Blackstar, I argue that the late-style lens helps to shed new light on popular music’s increasingly complicated knots of nostalgia, ageing and death.

show abstract

Gender, Age and Musical Creativity

Cited by 2 publications

References 0 publications

Trisutji Kamal’s Loro Jonggrang: A Cross-Cultural Dissonance

Trisutji Kamal’s Loro Jonggrang: A Cross-Cultural Dissonance

Summer’s Gone: Late Style and Popular Music

Contact Info

Product

Resources

About