Program of the 20 th SYMPOSIUM of the ICTM Study Group FOLK MUSICAL INSTRUMENTS LUANG PRABANG, June, 2015

Transcription

1 Program of the 20 th SYMPOSIUM of the ICTM Study Group FOLK MUSICAL INSTRUMENTS LUANG PRABANG, June, 2015 Time Tuesday 9 June 15 08:30 09:00 OPENING Ceremony 09:00 10:30 Arrival Wednesday 10 June 15 Thursday 11 June 15 1A Chair: Gisa Jähnichen Bouakhay Phengphachanh: The Role of Instrumental Music and Musical Instruments in Lao Literature Sveinung Søyland Moen: In the Absence of Instruments: The Art of Vocally Performing Dance Tunes Irina Popova & Dzlieva Dzerassa: The Problems of Classification and Historical Development of Music and Dance Genres in Ossetian Folklore 10:30 11:00 Tea break 11:00 12:30 1B Chair: Kongdeuane Nettavong Chinthaka Prageeth Meddegoda: Instrumental Ghazal Melayu: A Functional Analysis Kamontam Kuabutr: Ballroom Dance Music: History of Establishment in Thai Society and Songs of Own Thai Compositions Timkehet Teffera: Multi-functionality of Masinqo Playing in Song and Dance 2A Chair: Rinko Fujita Margaret Kartomi: The Gamolan of Lampung, Sumatra: survival of a widespread bamboo keyed instrument of I do esia s Hi du-buddhist past and emotional sy ol of the provi e s identity Chow Ow Wei & Thongbang Homsombat: Instrumental Sounds in Theravāda Buddhis a d Their Mea i g in the Buddhist Philosophy Moj a Kovačič: Noise Versus Music: The Perception of Bell Ringing 2B Chair: Mojca Kovačič Kongdeuane Nettavong & Ruwin Dias: Instrumental Sound in Music Therapy Inga Korolkova: Russian horn's tunes in the context of women's laments culture Ahmad Faudzi Musib: Multi-Distance Listening to Tube Zithers of the Bidayuh 12:30 14:30 Lunch break Lunch break 14:30 16:00 16:00 16:30 16:30 18:00 Evening progrram Registration 1C Chair: Rewadee Ungpho Gisa Jähnichen: Multi-perspective Categories in Collections of Instrumental Music Ingrid Hamberg: Social Interaction between Dancers, Musicians, and Peripheral Actors at Social Dance Events Songkran Somchandra: Saw, a Lanna Vocal Music Tradition in the Present Day Tea break 1D Chair: Timkehet Teffera Low Kok Wai: Musical Instruments Used in Singaporean Kuda Kepang during Malay Weddings Khanithep Pitupumnak: Nhea in Contemporary Society of Chiang Mai Wei-Ya Lin: We Have o I stru e t! and the Concept behind: The Music in the Society of the Tao Basi and Classical Dance Performance (with live music) 2C Chair: Don Niles Rinko Fujita: The Sounds of Nostalgia: The Chindon-ensembles in Modern Japanese Society Rewadee Ungpho: Thai instrumental music for the patients in Thai Red Cross Rehabilitation Center Loke Xaioyun: Listening to Nose Flute Playing Tea break 2D Chair: Manfred Bartmann Don Niles: Drums with Legs, Ears, Crocodile Jaws, or Fish Tails? Identifying the Provenance of Some Papua New Guinea Drums Otgonbayar Chuluunbaatar: Rare archaeological musical artifacts from ancient tombs in Mongolia Nattanit Nakpee: The Mangkala Traditional Folk Procession Band: Historical Questions on Its Movement From Sri Lanka to Middle Thailand Free Evening

2 Time Friday 12 June 15 Saturday 13 June 15 09:00 10:30 EXCURSION 3A CITY WALK in parts a) 5:00-7:00 b) Breakfast + nap c) 10:00-15:00 4A Chair: Ahmad Faudzi Musib Schu-chi Lee: Brass and Bamboo A Survey on Musical Cultures of Chinese Minorities Ali Fuat Aydin: The Tuning Systems of the Bağla a i Turkey Maryam Dolati Fard: Figurative Analysis of Oud player 10:30 11:00 Tea break 3B Self-booked excursion (boat/walk) 4B Chair: Margaret Kartomi Earl C. L. Jimenez: The Life of a Drum: The T oli T o ggo g as Biographi al O je t Manfred Bartmann: Doing it by not Doing 11:00 12:30 it. Notes on the Africanness of Ginger Baker, allegedly the "World's Greatest Drummer" James Makubuya: Folk Instruments: Their Multidisciplinary Roles as Windows and Mirrors 12:30 14:30 Lunch break 14:30 16:00 16:00 16:30 16:30 18:00 Evening progrram 3C Workshop Nithakhong Tiaoksomsanith: Fond of Gaiety: The Soul of the Music a d Da e i Lua g Pra a g s Past and Present Traditional Performance 4C Chair: Ali Fuat Aydin Brigitta Scarfe: Virtuoso biola (violin) playing in the Riau Islands, Sumatra N.N. The Collection of Musical Instruments in Luang Prabang's Royal Palace N.N. The Luang Prabang Dance Theatre and its Music Tea break 4D Chair: Gisa Jähnichen Final Discussion, Business Meeting Closing ceremony Free Evening Sunday 14 JUNE 15 Departure

3 ABSTRACTS Program Committee: Rinko Fujita, Manfred Bartmann, Rewadee Ungpho SESSION 1A Bouakhay Phengphachanh: THE ROLE OF INSTRUMENTAL MUSIC AND MUSICAL INSTRUMENTS IN LAO LITERATURE This paper is about how instrumental music as well as musical instruments have been described in Lao literature. Songs and dance accompanied by musical instruments play a role in many historical narratives. These terms of reference may highlight the standards and the esteem of the performing arts by opening up a historical dimension. A better understanding of the past, especially the extent of integrating musical instruments into narratives found throughout the country, may help to foresee future developments with regard to the use of musical instruments and their literary interpretation in present day Laos. Selected examples to be presented will serve to illustrate as well as to stimulate interdisciplinary research. Sveinung Søyland Moen: IN THE ABSENCE OF INSTRUMENTS: THE ART OF VOCALLY PERFORMING DANCE TUNES Performing instrumental dance tunes vocally has long been a part of the Norwegian folk singing tradition. It is usually done when no fiddler or other instrumentalists are available for the dancers. In addition to the importance of keeping the rhythm and communicating with the dancers, performers often imitate the instrument on which the tune is usually played using a variety of techniques. Slåttetralling, one of the many names for this style, is now considered a genre within Norwegian folk singing. Nowadays singers also do this in concerts without dancers. This paper will explore the tradition from a performer s perspective and discuss the following questions: How do performers prioritize between for example technical, melodic, rhythmic and cultural elements when they sing for dancers? How conscious are they regarding their imitation of the instrument in question? And which techniques are used to achieve the desired effect? How does the lack of dancers affect the performance in a concert? Irina Popova & Dzlieva Dzerassa: THE PROBLEMS OF CLASSIFICATION AND HISTORICAL DEVELOPMENT OF MUSIC AND DANCE GENRES IN OSSETIAN FOLKLORE The authors analyze the problems of genre classification and general trends of development in musical and choreographic culture of Ossetians. Various aspects of the raised problems are elucidated by reviewing a number of previous research works, as well as an assessment of historical significance of the mentioned publications. The authors suggest a genre classification of basic choreographic forms, based on the results of the typological analysis of a variety and a large body of sources, as well as the characteristics of the Ossetian paired dances in the light of historical transformations of the genre. The report considers in detail the basic principles of dance genres and ways of organizing the dance space. Major attention is paid to etiquette behavior while dancing, revealing different social roles of men and women in a traditional community. The characteristics of musical instruments accompanying the dances are granted: H isyn fandyr (chordophon, ) Diuuadastanon fandyr (chordophon ), dala fandyr (chordophon ) k arcganag (idiophone 111). Special attention is given to the people s terminology. The authors trace the historical development and the main vectors of dynamic transformation in musical and choreographic culture of Ossetians. SESSION 1B Chinthaka Prageeth Meddegoda: INSTRUMENTAL GHAZAL MELAYU: A FUNCTIONAL ANALYSIS The ghazal is seen a poetic genre which has spread into South Asia in the 12th century. Education typically available only to the upper classes was required to decode the complex lyrics of ghazals, mostly defining cultural behavior and the ideology of musicians and admirers in the respective society. Today it is found in the poetry of many languages of the Indian sub-continent. As a rule, ghazal poetry is presented through singing accompanied by musical instruments. Ghazal Melayu is one of many ghazal genres which evolved in the Malay world by merging poetical and musical ideas coming from India and the Middle East. Sung melodies of ghazal Melayu are also presented through musical instruments implying that ghazal Melayu is not merely a poetry based music genre but also understood as an instrumental music form which is called Instrumental Ghazal Melayu. However, Sunni Islam does not encourage instrumental music in Malaysia. As already emphasized by Al Ghazali ( AD), and later on disseminated in many versions, instrumental music is not deemed as being generally permissible. This paper discusses how Malays justify the idea that Instrumental Ghazal Melayu should be tolerated in Malaysian Islam although other forms of instrumental music are seen as rather questionable. In conclusion, this study provides insights into the academic discussion regarding the dichotomy between secular and religious music as expressed in instrumental music practice and the relationship of musical ideas thought vocally and instrumentally. Kamontam Kuabutr: BALLROOM DANCE MUSIC: HISTORY OF ESTABLISHMENT IN THAI SOCIETY AND SONGS OF THAI OWN COMPOSITIONS In Europe music for ballroom dances started in the Renaissance period. It was accepted especially in the Royal court houses. Such music and dance styles arrived in South East Asia during the period of colonization. In late 1800, ballroom dance was a state entertainment for the Thai society, arranged by the ministry for foreign affairs, using small western ensembles with European musicians. However, there was no ballroom dance in Thai court even though HM the King owned the stringed orchestra since The first Thai owned ballroom dancing band started on February They played in public at the Payathai Hotel. The second was a small dancing band of 7 girls named the Manit Jazz which started in late Both bands mentioned used western ballroom songs. Ballroom songs composed by Thai artists did not exist till In this year, under a government sponsorship two big bands were established. They were the Duriya- Yothin of the Thai Army, and the Krom Kos-sana-karn band owned by a department of the Thai National Radio Station. The purpose of this study is to highlight the historical birth of Thailand ballroom music composed by Thai artists between 1939 and A qualitative study will be used as an approach to focuse three topics, (1) Historical establishment (2) Thai composers and their productivities and (3) Traditional Values and public acceptances. A body of data came from old recordings ( ) and interviews with national artists, scholars and ballroom dancers. The presentation will compare ballroom music examples that are originated from old Thai traditional songs, with Thai s own compositions, and with some imitation of the western material, Analysis of Thai ballroom dance music will be discussed. Timkehet Teffera: MULTI-FUNCTIONALITY OF MASINQO PLAYING IN SONG AND DANCE The one string spike fiddle of the Amhara is widely described and introduced to a broader audience, namely through its prominence in traditional urban entertainment. One aspect, however, was rarely

4 emphasized: its multi-functionality in the context of guiding performance types. While the Masinqo s primary function might be attributed to its unique sound underlying a number of songs, it is also to guide singing and interconnect verses, stanzas and other performance types, of which dance is an important one. The traditional shoulder dance, Iskista, observed on various music events (e.g. weddings) is commonly accompanied by Masinqo playing that is supported by ostinato drumming patterns. This study attempts at discussing the musical appearance of the Masinqo playing in the diverse performance types in detail in close relation with its contextual functionality. The question whether tunes are varied and/or constantly applied for different performance types and whether such changes in performance types are communicated among the musicians, the active participants and the audience will be given due consideration in the discussion. All material used for this paper derive from several extensive researches undertaken in the field during 1993 and SESSION 1C Gisa Jähnichen: MULTI-PERSPECTIVE CATEGORIES IN COLLECTIONS OF INSTRUMENTAL MUSIC The "Archives of Traditional Music in Laos" is an institution within the National Library of Vientiane, where many audiovisual recordings stemming from long term field trips are not only collected but also preserved and prepared for public access. This paper tries to review the possibilities of the ATML in terms of serving special research questions concerning the collections of instrumental music as well as the definition of categories such as "song instruments" and "dance instruments. Alongside a functional categorization, the organological background and cross-regional relationship of the instruments may help to locate the collected instrumental music in the present day context considering Lao social conditions. The instrumental setting of Khapthum Luang Prabang will be taken as one of the many useful examples to illustrate multi-perspective categories. Finally, an open system for local instrument categories will be introduced to improve the research service provided by the ATML and to promote audiovisual archives as inevitable research tools. Ingrid Hamberg: SOCIAL INTERACTION BETWEEN DANCERS, MUSICIANS, AND PERIPHERAL ACTORS AT SOCIAL DANCE EVENTS In this paper I look at social interaction between dancers, musicians, and peripheral actors at social dance events, particularly in the Scandinavian folk dance community (both in the United States and Scandinavia). Through analysis of filmed material and personal experience, I identify a number of behavior roles and look at how these can be grouped together to understand how a given behavior performed by one actor (musician, dancer, or other) or group can influence consequent behaviors of that individual and others. Based on interviews with community members I determine a number of other factors that influence this interaction between performers and explore how this influence is affected. I explore the integrated and reciprocal nature of the identified behaviors and contextual factors. I also suggest a number of ways that the tools I have developed can be used to analyze social interaction at a social dance event, regardless of genre Songkran Somchandra: SAW, A LANNA VOCAL MUSIC TRADITION IN THE PRESENT DAY This ethnomusicological study deals with the history and development of Saw singing since the 1950s. It uses reference data, field work recordings, and personal observations. My starting point is the policy of the central government announced in 1943 by Plaek Phibunsongkhram, the then prime minister of Thailand. This legislation was called the Musical and Dance Performance Decree. It directly impacted Saw performances as it had an important effect on the Chiang Mai radio station WPT-2 in 1956, where live broadcasts of Saw performances were becoming increasingly popular. In 1970s Saw performances were used to resist the communist threat by the Kham Saw (Saw Word). The Saw music business also started in this decade. Before that, Saw had been a part-time career of agriculturists. The Saw tradition became an important factor in the establishment of the Center for Lanna Thai Studies at Chiang Mai Teachers College (now Chiang Mai Rajabhat University). By now, scholars have studied this tradition been extensively. Despite its cultural value, the popularity of Saw performances is currently decreasing. Yet scholars continue to be interested and young people are still keen to become Chang Saw (Saw performers). Saw performances today are of two types: traditional and adapted called Saw and Saw String. Some Saw performers borrow songs from Thai country music to maintain their popularity. In comparison to other Lanna ensembles, Saw performers tend to draw higher than average wages nowadays. SESSION 1D Low Kok Wai: MUSICAL INSTRUMENTS USED IN SINGAPOREAN KUDA KEPANG DURING MALAY WEDDINGS Kuda Kepang is a traditional art form most popular on Java and throughout the Malay World. Kuda Kepang is a dance and trance performance that occurs during Malayan weddings. It involves rituals and incantations of the spirit. These are invoked by the dancers as well as by the instrumental music that usually supports Kuda Kepang. This paper is to describe this cultural practice, especially the processes of composing and performing the live music that occurs during wedding ceremonies that usually also feature a Kuda Kepang performance, although the latter is slowly declining in the Singaporean society. Studies on this topic are based on field work conducted in Singapore, where two Malay weddings took place. The paper will include analysis of the audio and video recordings, as well as interviews with the lead dancers and musicians. Khanithep Pitupumnak: NHEA IN CONTEMPORARY SOCIETY OF CHIANG MAI, THAILAND The Kingdom of Lanna was a kingdom centered in what today is northern Thailand. It lasted from the 13th to the 18th century. Lanna culture, including Lanna music, was developed and adapted by various cultural influences. Pi Nhae, a double reeds aerophone with seven finger holes, is an important musical instrument. There are two types, called Nhae Luang (big) and Nhae Noi (small). Those were used in both traditional and ensembles adapted to ceremonies, such as the Poi Luang ceremony (to celebrate religious properties), the Fon Pi ceremony (to worship spirits who protect their family), and so on. The ensembles have to perform both traditional and adapted music pieces which originally may have been borrowed from other cultures, for example music from the North-Eastern, Southern, and the central region of Thailand. In this case, the Pi Nhae changed its function in the ensembles as well. In this paper, I will study the character and functions of Pi Nhae in the ensembles in contemporary society in the province of Chiang Mai, the old capital of the Kingdom of Lanna, Thailand. The existence and adaptation of Pi Nhae will be reflected, focusing the ensembles and the aesthetic norms within communities of the studied areas. This study will be completed in May, Loke Xaioyun: LISTENING TO NOSE FLUTE PLAYING Nose flute playing was once common among the Kenyah people populating upriver areas of Sarawak (Borneo). It was and it is still an activity carried out by women. However, at the beginning of the 21st century, only a few are skilled in nose flute playing. Since this flute has a very soft tone and the available scale does not fit into the scheme of other instruments, it is an instrument played solo in a silent space and in intimacy of one s own environment. Therefore, spatial arrangement and social environment matters to a great extent as it affects the perception of sound.

5 This paper is to give a comprehensive description on the history of one nose flute that was handed over to me during fieldwork in Sarawak in the hope to convey the message of its beautiful sound to the outer world. The various stations in the flute s life might show the strong attachment of the flute to its home place. Detached from it, the flute seems to be incomplete. SESSION 2A Margaret Kartomi: THE GAMOLAN OF LAMPUNG, SUMATRA: SURVIVAL OF A WIDESPREAD BAMBOO KEYED INSTRUMENT OF INDONESIA S HINDU-BUDDHIST PAST AND EMOTIONAL SYMBOL OF THE PROVINCE S IDENTITY Unique to the ancestral Skala Brak heartland in Lampung province, the gamolan bamboo-ophone is played by the local Saibatin people with pairs of gongs, cymbals, and double-headed drums to accompany processions and local dances at births, circumcisions, weddings, titlebestowing ceremonies and formerly, funerals. Its eight keys, made of rare bamboo found only in local forests, strung together with rattan lacing and suspended over its wooden trough, are beaten by two performers (leader begamol and follower gelitak) seated behind the instrument. It ranges over an octave, with tone 4 (fa) functioning as an enemy tone for modulations from one sextatonic mode to another. The term gamelan, which usually refers to a complete orchestra in Java, may originally have referred to a single instrument in Java too; it appears in a 14 th century Javanese court poem Nagarakrtagama in a context that implies that it was a single instrument with keys made either of wood or metal ( Krtavardhana started as an amateur to play a gamelan (Kunst 1949:112). Thus it may be a survival of a widespread keyed instrument of the Hindu-Buddhist period. After an indigenous Governor of Lampung was appointed in 2004, various sizes of gamolan were made tuned diatonically to three octave tints, played by thousands of school children, and officially recognised as the musical symbol of Lampung province. Thus the deep emotional effect of its sounds contributed to the reshaping of the province s cultural and political identity in the post-suharto era. Chow Ow Wei & Thongbang Homsombat: INSTRUMENTAL SOUNDS IN THERAVĀDA BUDDHISM AND THEIR MEANING IN THE BUDDHIST PHILOSOPHY Like in many other religions, musical instruments are essential and highly functional in Buddhist rituals. Musical instruments do not only work as time markers for the procedure of an event but also help the participants to increase their focus when meditating. In the teaching of Buddhist philosophy, the concept of kong (in Chinese) or śūnyatā (in Sanskrit), which is often emphasised in the practice of mind, speech and behaviours, means emptiness. However, it is also often commonly understood as nothingness which is an underlying context in the Chinese character 空. Instant questions are raised: How do Buddhist practitioners cope with any instrumental sound in a musical setting when emptiness or nothingness is stressed during their religious practice? How do they connote an instrumental sound within Buddhist settings? This paper examines how musical instruments are used in Theravāda Buddhism, what instrumental sounds mean in the religious context and how the sounds fit into the teaching of the Buddhist philosophy. Mojca Kovačič: NOISE VERSUS MUSIC: THE PERCEPTION OF BELL RINGING In countries with Christian traditions, the sound of church bells is present in everyday life. Although people strongly associate it with religion (as it is one of the forms of a its public expression), it affects directly and indirectly all people within earshot, either through clock chiming, bell ringing or bell chiming. In the past, bell ringing was also creating a wide variety of meanings, so determining the acoustic boundaries of space and its rhythm. These meanings have changed significantly in the modern world, in which the social processes of industrialization, globalization and mobility affected the people s perception of time and space. The aim is to determine the boundaries between music and noise as they occur in church bell ringing as well as to disclose their role in the environmental, social, cultural and political context. Therefore the paper focuses on the social as well as the musical dimension of church bell ringing. It reveals the role and significance of bell sonority in the environment that surrounds us. Both aspects are most evident in situations that have triggered heated public responses from individuals and the wider community and which reflect secular opposition to the church. Sonority of the bells is often the subject of ideological struggle; control over the sound of bells is also a control of the symbolic order and rhythm of the people and the environment in which they live. SESSION 2B Kongdeuane Nettavong + Ruwin Dias: INSTRUMENTAL SOUND IN MUSIC THERAPY Healing through sound is one of the upcoming therapeutic practices Asian countries. Therapists use both songs and instrumental sounds in their music therapy sessions to treat certain psychic disorders. However, text lyrics as well as instrumental sounds may be associated with completely different meanings, may give different impressions due to different cultural backgrounds. As a result, a lack of cultural knowledge or superficial understanding may come down as mistreatments that even may lead to other unwanted psychic conditions. This study aims to scrutinize the use of instrumental sound in healing and music therapy in selected Asian traditions as well as in modern concepts of psychological therapy. The emotional effect of instrumental sounds is one important point to be looked at. Data will be collected through semi-structured interviews with music therapists, shamans, layman practitioners, to be carried out by experienced observers in Laos, Sri Lanka, and Malaysia. This study predominantly applies a qualitative approach of research partially mixed with descriptive statistics followed by newly developed methods for analysis. The outcome of this study might be useful for traditional and academically educated music therapists as well as musicians who may gain some insights into the impact of instrumental sounds in music therapy. Inga Korolkova: RUSSIAN HORN'S TUNES IN THE CONTEXT OF WOMEN'S LAMENTS CULTURE This report is based on materials recorded during folklore expeditions organized by the St. Petersburg Conservatory in in Northwest Russia (Novgorod, Pskov, Tver region). The subject of this study is a horn, a common musical instrument of Russian herders. The leading research problem is to consider functional and semantic aspects of the existence of this musical instrument. A new a way of regarding these topics comes as a result of a comparative study of tunes and genres associated with women's laments culture. A structural and stylistic relationship between instrumental pastoral tunes and female vocal genres was revealed, such as lamentations, lyrical songs, vocal imitations of pastoral tunes, forest melody-signals. Ahmad Faudzi Musib: MULTI-DISTANCE LISTENING TO TUBE ZITHERS OF THE BIDAYUH When reflecting a tube zither performance in the Bidayuh villages of Sarawak, the reader might think of a musician placed on a rattan mat wearing a traditional dress. This imagination is highly unreal, as the Bidayuh play their tube zither for many more reasons and on many more occasions, wearing leisure time clothing. The musicians do not even expect a crowd sitting in front of them, they just play to make the air sound and at the same time to enjoy the peace of the village. In a long term project a contextual sound preservation of Bidayuh tube zithers was attempted. The outcome is a solid body of recordings

6 that allow to choose various listening conditions. The distance to the musicians has been varied as well as the position within the village environment, considering integrated village soundscapes as well. As a result, the paper will introduce different methods to record this instrument. Studies of sound perception on one hand and identity issues on the other will be based on various sound experiences. The idea of a more contextual sound preservation may turn out as a useful tool to detect emotional effects related to listening conditions. been said that the Tao have no instrument in their tradition, which encouraged the musicologist Greg Hurworth to find out the reason for it. Hurworth assumes that making instruments is a taboo in the society of the Tao (Hurworth 1995). The paper will refer to questions like: What kind of function does making music or singing have in the Tao society? And how are taboos related to their singing practice? Does the lack of musical instruments affect their musical behaviours? And how? SESSION 2C Rinko Fujita: THE SOUNDS OF NOSTALGIA: THE CHINDON- ENSEMBLES IN MODERN JAPANESE SOCIETY Musical concepts are created in the process of musical understanding through which sound events are transformed into structures that make it possible to grasp music. In other words, confronted with musical sound, these processes create musical concepts. In this manner we recognize sequences of sound events as music only when these conform to our concepts of music. These concepts are acquired through our musical experiences. On the other hand, the emotional implications which instrumental sounds may carry are constructed through individual experiences and socio-cultural factors. Chindonya are groups of musicians who are engaged mainly in advertising for stores or events and perform music while walking along the streets. The instrumentation of chindonya is a mixture of musical instruments from traditional Japanese music and from Western musical cultures. It commonly consists of a chindon-drum, gorosu, and a melody instrument (clarinet and/or saxophone). It is often said that chindon-performance evokes a feeling of nostalgia for the past, especially nostalgia for the post-war era. In this paper, by analyzing some of chindon-performances, I will examine how they combine the traditional and new elements in the music and consider how instrumental sounds can affect the emotion of audience. In this context the historical background and socio-cultural function of chindonya will also be taken into account. Rewadee Ungpho: THAI INSTRUMENTAL MUSIC FOR THE PATIENTS IN THAI RED CROSS REHABILITATION CENTER Music therapy is one activity in Thai Red Cross Rehabilitation Center, which adopted the Akaboshi Music Therapy Method from Japan. Initially, the center only used instruments common western musics and percussion music for therapy and rehabilitation. Later the therapist has applied to use the Thai instrumental music within the same concept of Akaboshi. The instruments as well as the music have been adaptedto give therapy to the body movement. The way of playing Thai music has been modified, especially the Thai song for healing the respiratory and pronunciation. The study aims to explore the use of Thai instrumental music in both physical and psychological rehabilitation of the patient. Wei-Ya Lin: WE HAVE GOT NO INSTRUMENT! AND THE CONCEPT BEHIND: THE MUSIC IN THE SOCIETY OF THE TAO The Tao, also known as Yami, live on island of humans, ponso no tao, off the south-eastern coast of Taiwan Island in the west Pacific. Because of the rich wild orchid flowers on the island, it is named Lanyu in 1947 by the Taiwanese, which means orchid island. Their language belongs to the Austronesian language group. It is orally transmitted. There is no word in the Tao language which can be translated as music. They use the term mi-anoanood which means singing songs. Researchers and outsiders often use the term traditional music to describe the Tao s traditional song repertories. It has also SESSION 2D Don Niles: DRUMS WITH LEGS, EARS, CROCODILE JAWS, OR FISH TAILS? IDENTIFYING THE PROVENANCE OF SOME PAPUA NEW GUINEA DRUMS The drum is an unofficial national instrument in Papua New Guinea, a component of the national emblem and many logos, and an invariable component of photographs of local festivals. Most often, a Papua New Guinea drum consists of a hollowed-out wooden body, with a skin attached to one end and the other end open. It is held roughly horizontally with one hand and struck with the other. The wood and animal skin used varies throughout the country, as does the presence of absence of a handle, decorations on the body, and many other details. In most parts of the country, the distal end of the instrument is cut-off straight, in a plane parallel to that containing the proximal end. Within the past few years, I ve been asked to contribute chapters on Papua New Guinea drums to two books published by European museums. In both cases, I was also asked to write about each drum in their collections often a very difficult task given the minimal information in their records about the provenance of instruments. It often became difficult to separate what information derived from the collector and what from subsequent book/museum research or guesswork. I will consider drums in which the distal end is carved into two or more pointed flanges, variously described as legs, ears, jaws, or fishtails. Such drums are of particular interest because of their distinctiveness compared with other instruments and their present-day rarity. In addition to developing a typology of these instruments, some of the problems in assigning provenance will also be considered. Otgonbayar Chuluunbaatar: RARE ARCHAEOLOGICAL MUSICAL ARTIFACTS FROM ANCIENT TOMBS IN MONGOLIA In 2011, a very large tomb called Shoroon Bumbagar was discovered at the Maixan Mountain, located in present-day Mongolia. Excavated finds include several figures of riders made of painted clay. These riders carry different musical instruments. No comparable objects are known so far, neither from the Tang Dynasty nor from elsewhere in Central Asia. These finds of instrument figures have not been shown to the public yet. The musicians are depicted playing different kinds of flutes, also pan-pipes. In this paper they will be described more detailed. Different assumptions about the meaning of this unusual presentation of a complete group of musicians will be discussed. The artifacts from the tomb date from the 6th and the 7th century. Because of their large number they do not only indicate the status of the buried aristocrat in his society, but also provide remarkable insights into the immaterial world of a culture almost unknown. In addition, this paper will discuss the musical instruments of that period that have been found in this area so far. Apart from an instrument that can be clearly classified as a wooden jaw harp, another instrument was found in the Altai Mountains of Mongolia a few years ago that has been classified in different ways. The classifications of other authors are outlined and discussed alongside the author s new and sometimes differing ideas.

7 Nattanit Nakpee: THE MANGKALA TRADITIONAL FOLK PROCESSION BAND: HISTORICAL QUESTIONS ON ITS MOVEMENT FROM SRI LANKA TO MIDDLE THAILAND This research aims to study the history, characteristic, and the function of Mangkala music in its society. As a qualitative research method, ethnographic design was used for this study. Mangkala, a Thai name of the band, has been in use for centuries among Thai villagers. In the history of Buddhism, it is said to have arrived at the Thailand peninsula in 307 B.C., i.e. before the kingdom of Siam was established. It was King Asoka the Great of India who sent 2 monks to teach Buddhism in this Suwannabhumi area. Cultural aspects including beliefs, social values, customs, rites as well as music were followed and accepted by the Thai communities. The folk band Mang-kala-pay-ree is said to have arrived from of Sri Lanka as a traditional folk procession band that played on religious festivities as well as for entertainment. Mangkala band consisted of a Thai shawm, two types of drums, cymbals, wood clappers and a set of gongs. One type of drums is a small single headed drum named Mangkala which is held by dancer s hands and beaten by a drummer. Another type of drums is a bigger two headed drum hung by a drummer s neck and beaten by the same person. A procession moves along with dancing and playing music. The characteristic of Mangkala music is that Thai shawm player improvise melodies which have to be consistent with the rhythmic patterns provided by the drum. Moreover, in terms of the function of this music, it is found that Mangkala music is widely used to play in Thai traditions such as the Songkran festival, at wedding ceremonies, etc. Although the interference of technology with original culture has become more influential, Mangkala music is still used in Middle Thailand nowadays. EXCURSION TALK (3C) Nithakhong Somsanith (workshop on excursion day): FOND OF GAIETY: THE SOUL OF THE MUSIC AND DANCE IN LUANG PRABANG s PAST AND PRESENT This informal talk is about art work on musical instruments and their preparation for dance performances in Luang Prabang, the former city of the Lao court and the present world heritage city. As a rule, musical instruments to be played during dance performances are well chosen and most beautiful. As a rule, they even get initiated through a special ritual. Nowadays the promoting of cultural heritage came with new developments, even with an educational concept. These tendencies deserve some critical analysis. Practical demonstrations will illustrate the topic, to be extended in an offered workshop on the excursion day of the symposium. time, approximately XVII. century B.C. Since then, in Anatolia nearly all civilizations have used this type of instrument in order to accompany singing voices, as a melody instrument, for rhythmical accompaniment, to work out homophonic structures and for theoretical guidance by means of fret distribution. These lutes have always represented a great variety in structure, stringing and tuning systems as well as performance styles. Bağlamas can be played both fingerstyles as well as by using a plectrum. Extraordinary right-hand techniques have been developed to perform very efficient rhythmic patterns. Different tuning systems support the efficiency of developing artfully melodies. In a bağlama performance, each of the player's hands holds specific functions. In coordination with the right hand, the left hand is dedicated to the melodic dimension. Apart from the rhythmic and melodic functions, a bağlama also serves as tool for working out homophonic or sometimes polyphonic accompaniments. This paper will present tuning systems of the bağlama most common in Turkey and will investigate their variations. Maryam Dolati Fard: FIGURATIVE ANALYSIS OF OUD PLAYER This study analyzes 40 images, showing oud playerd from the Sassanid to Safavid period in Iran. There are two types of figures that could be defined as permanent elements : A basic figure and a nonbasic figure. Permanent elements are the basis of analysis in this research. A basic figure refers to an element which is superior to other figures. This can be recognized by visual signs. A non-basic figure occupies a lower status than basic figure. In this paper, the oud player is often seen a non-basic figure. This research has revealed four kinds of patterns which represent images of an oud player. Most of the images belong to the first pattern in which a king is the basic figure, and hence superior to the oud player. In the second pattern, a non-human element replaces the king as the basic figure. In the third pattern, the oud player is represented as the basic figure, showing his individuality. In the last pattern, the oud player is shown beside another figure, demonstrating equal status in fact, none is superior to the other. Diversity and repetition of these patterns could be considered as a reflection of social and cultural values in Persian Ancient and Islamic art. All four patterns are available in the Sassanid group. However, a review of images, from Sassanid to Safavid, shows that the first pattern becomes more dominant. There has been some debate about the place of music in Islam, so the first and the second patterns can be an indication of a lower status of an oud player in this society. SESSION 4A Schuchi Lee: BRASS AND BAMBOO A SURVEY ON MUSICAL CULTURES OF CHINESE MINORITIES Brass Gongs and bamboo instruments have long been the main instrument of some Chinese minorities in provinces Guangxi, Yunnan, Guizhou and other places. Gongs as musical instruments belong to the ancient idiophones, and large numbers of ethnic groups like Zhuang, Yao, Miao, Dong use them during festivals and rituals. The Lusheng (bamboo reed-pipes) is also widespread among the minorities and is played for courtship, during festivals and religious gatherings. The paper will discuss these two kinds of representative instruments and especially their functions related to musical culture and specific activities of the minorities. Ali Fuat Aydin: THE TUNING SYSTEMS OF THE BAĞLAMA IN TURKEY The long-necked lute bağlama has been predicated the main folk instrument of Turkey, originated from Ancient Mesopotamia. In Anatolia the first instruments of this kind appeared in early Hittite SESSION 4B Earl C. L. Jimenez: THE LIFE OF A DRUM: THE T BOLI T NONGGONG AS BIOGRAPHICAL OBJECT The study of objects is the study of people s lives. More so if such objects are highly valued by the community either as cultural capital or as cultural object inscribed with belief systems. The study of musical instruments is that of an object used in the production of music and as an object used to produce and reproduce the culture of a community. Within this framework, I position the T boli drum, "t nonggong," as a referent of the cultural life of the T boli community in Lake Sebu, South Cotabato. By cultural life, I refer to the discourse of their everyday lives in which elements of their culture are largely encoded and reproduced through creative expressions. The narrative of the life of the t nonggong as cultural object as it moves from construction to performance and to more recent modern phenomena such as commodification is a story of the people intertwined with the story of the instrument. Through its biographical life I shall show how the "t nonggong" from its construction to use is a discourse on the culture of the T boli particularly in the context of their everyday realities in which the instrument and the people engage

8 in a discourse of meanings where identity, cultural practice, tradition, and beliefs are challenged and negotiated amidst their increasingly modern world. Manfred Bartmann: DOING IT BY NOT DOING IT. NOTES ON THE AFRICAN-NESS OF GINGER BAKER S DRUMMING Ginger Baker is a drummer best known for playing in rock groups like Cream ( ) and Blind Faith ( ). One of rock's most colourful characters, his reputation for drugs, violence and all forms of excess preceded him everywhere. Baker had become famous for his extensive drum solos, often described as being "ecstatic". In 2005 Cream had reformed for 6 more shows, earning critical acclaim saw the autobiography of allegedly the World's Greatest Drummer. In 2013 the film Beware of Mr Baker. The devil takes care of its own came out. These materials underline the connotation that Baker's drumming was largely "African". This attribution as well as others deserve some source criticism. It will be carried out by analysing some video material, especially one of Baker's drum tutorials as well as some footage that Baker himself recorded in the early 70s when working with local musicians in Nigeria. James Makubuya: FOLK INSTRUMENTS: THEIR MULTIDISCIPLINARY ROLES AS WINDOWS AND MIRRORS When one hears the technical term musical instrument, the first concept that comes to mind is of a device used to produce musical sounds. In addition to this globally accepted sonic role, recent research has shown that musical instruments also perform non-sonic functions. This presentation will explore the organological framework for understanding the meaning, power, and significance of folk instruments, including their sonic and non-sonic roles. Using several folk instruments for illustration, I will discuss how folk instruments serve as windows into, and mirrors that reflect, the respective cultures from which they originated and by which they are used. By this presentation, I will also discuss how these instruments are constructed, a process that also reflects the use of a complex set of multidisciplinary skills and knowledge. SESSION 4C Brigitta Scarfe: VIRTUOSO BIOLA (VIOLIN) PLAYING IN THE RIAU ISLANDS, SUMATRA This paper explores the ethno-organology of the violin in a hitherto neglected research area Tanjungpinang, capital of the Riau Islands in Indonesia. It has been contended that the violin, known as biola, was among the instruments that the Portuguese brought to their households in Malacca from 1511 to be played by slaves, and that after their colony s demise in 1641, the slave-musicians resettled in the nearby Riau islands, bringing their biola-making and -playing skills with them. To this day, the biola (probably derived from the Portuguese viola) serves as the main melodic instrument in many musical genres in the area, though normally played with different bow tension on only two or three strings and in different playing positions from Western violinists, a few biola players developing distinctive virtuoso techniques. This paper analyses the biola virtuoso Supriyadi Hasanin as he improvises the biola part in accompaniment to vocalist Dwi Saptarini singing the famous Muslim-text of Gurindam Duabelas, written in the local palace in the mid-19th century. N.N. THE COLLECTION OF MUSICAL INSTRUMENTS IN LUANG PRABANG'S ROYAL PALACE A representative of the Luang Prabang Tourism Board speaks about the collection of musical instruments in Luang Prabang. N.N. THE LUANG PRABANG DANCE THEATRE AND ITS MUSIC The leader of the royal ballet will introduce the Luang Prabang dance theatre and its music. MORE INFORMATION IN: Local Organization: Ministry of Information, Culture and Tourism National Library of Laos Khanthamaly Yangnouvong Director Program Committee: Rinko Fujita Manfred Bartmann Rewadee Ungpho Organizing Committee: Thongbang Homsombat Gisa Jähnichen ICTM BULLETIN OCTOBER 2014