Gamelan

Kratus and Williams both discusses how music educators need to make several changes to the program to provide students with more opportunities to be creative as well as learn lifelong skills which they could apply to their lives. Kratus points out the fact that making small changes to the music education program in schools can have a huge impact. I believe that it is risky to step up as music teachers and most of the time music teachers rarely get opportunities to step in or lead the program…

TITLE Bumi Surabaya: A Peaceful City Resort With Javanese Ambience LEAD PARAGRAPH Regardless of your purposes coming to a new place, one thing you must not miss. It's the local food! Indonesia, a country rich with culture heritages, is a heaven for food hunters. When you happen to be in Surabaya, why not stay at Bumi Hotel, a resort-styled artsy hotel located in the heart of Surabaya, with a large garden, artistic decorations and most importantly a large array of Indonesian foods in food stalls…

purity. That’s why I chose this first logo. I also choose the second logo because it is appropriate for kids. It looks fun and cool. First thing there we can see the face of a wayang and its long nose. Wayang is a Javanese puppet show, played with gamelan and some narration. This shows much of Indonesian’s heritage. In the wayang’s head there is a strip of batik. Batik is s traditional clothing from Indonesia. That’s why I chose this logo as well.…

2.3.3 The meaning of retention of Hinduism a. The meaning of Moral Education, Skills and Efficiency In the process of preservation of religion by Krama Desa Adat Kuta going process of transferring science and religion and religious life skills among village manners. Meaning of moral education in this exposure means is the process of moral education that is good and bad deeds guidance. The link between morality with religion very closely the more so with the teachings of Hinduism because…

The first of the piece of the set, Pagodes is heavily influenced by Debussy’s interest in gamelan music and evokes images of East Asia. The movement features a syncopated, off-beat chordal pulse with a pentatonic-inflected melody. While the third, Jardins sous la pluie, returns to Debussy’s France by incorporating two French folk songs Do, do…

Born in August 22, 1862 in Saint Germain En Laye, France, Claude Debussy was not known for having the greatest beginning to an exciting life. But while his family did not have a lot of money, they were still able to understand his amazing talent with a piano and by the age of 7 he was in Piano lessons. At the age of 10 or 11 Debussy had entered into the Paris Conservatoire, within his time there his instructors and his fellow students were awed by his obvious talent but often found his musical…

follows: 1) Students will be able to illustrate the connection between music and dance in African music by producing a 5-minute flash mob. 2) Students will be able to demonstrate the application of a number notation system by creating a 5-minute gamelan performance. 1-b. Describe the positive aspects of this process, including how your new or revised learning outcomes will be helpful to you and your students. Unlike the old version, the…

specifically his opera Tristan und Isolde. Debussy greatly admired Wagner, but shied away from his style when writing his own works. In 1887, Debussy returned to Paris. Two years later, he attended the Paris World Exhibition. There, he heard a Javanese gamelan, which includes gongs, bells, and xylophones. In his subsequent years, Debussy incorporated these into his work. Debussy’s early style shows in Clair de lune. Because he held the Grand Prix de Rome, he received a three-year stay at the…

The gamelan performance in particular was one of the main performance that had a connection between the performer and the sacred. A lot of the dances also told stories through the dance. While the music was important to the performance a lot of the actual story…

In the twentieth century, theatrical representations of A Midsummer Nights Dream (The Dream) underwent a revolution. Leading the breakthrough was Peter Brook’s 1970 production, a challenge to traditional interpretations of Shakespeare’s work. Directors like Robert Lepage (1992) and Tim Supple (2006) followed Peter Brook’s success and explored their own interpretations of The Dream with famous and influential productions. Each of these directors accentuated the contrasts between the play’s…