VISITSILP-JOURNAL OF ARTS AND CULTURE

CHASING THE BUTTERFLY: ANALYSING THE PARALLELS OF BUTTERFLY PORTRAYAL IN EDVARD GRIEG’S SOMMERFUGL AND XIA LIANG’S CǍI DIÉ XÌ HUĀ

2024-12-28T10:45:23+00:00

Butterflies, belonging to the Rhopalocera suborder of lepidopterans, are known for their large, often brightly coloured wings that fold together when at rest and their distinctive, fluttering flight. Universally admired for their beauty, butterflies have inspired many composers to capture their essence in music. Notable compositions inspired by this natural beauty include Edvard Grieg’s Sommerfugl (Butterfly), Debussy’s Les Papillons (The Butterflies), and Xia Liang’s Cǎi dié xì huā (Colourful Butterflies Playing with Flowers). This article explores the similarities between two (2) solo piano works, Grieg’s Schmetterling and Liang’s Cǎi dié xì huā, through a detailed music analysis. By applying the programme music framework used by Kregor and Zamani, the study highlights the harmonic, rhythmic, and expressive parallels in these pieces. Despite the composers' different cultural and geographical backgrounds, their musical depictions of butterflies show striking similarities, suggesting a universal appreciation for this delicate insect. The findings of this article offer valuable insights into programme music and provide a fresh perspective on character pieces that are often overlooked. While there are other piano works often associated with butterflies, such as Chopin’s Butterfly Etude and Schumann’s Papillons it was not the composers' intention (at least consciously) to depict butterflies through these works. This analysis enhances our theoretical understanding and enriches our appreciation of how composers from diverse backgrounds can share a common artistic vision.

COMPARING SHORT-TIME FOURIER TRANSFORM (STFT) AND CONSTANT-Q TRANSFORM (QCT) FOR SPECTRAL ANALYSIS OF THE REBANA, MALAY TRADITIONAL MUSIC INSTRUMENT

2024-12-30T17:56:36+00:00

This study compares the Short-Time Fourier Transform (STFT) and Constant-Q Transform (CQT) techniques in capturing the intricate spectral characteristics of the rebana, a traditional Malay frame drum known for its rich harmonic content and transient attacks. High-quality audio recordings were obtained in a controlled studio environment using a Shure SM57 microphone placed six inches from the drumhead, ensuring minimal noise interference. The analyses were conducted in MATLAB utilizing the MIRToolbox, enabling robust computation of time-frequency representations and related spectral parameters. While STFT provides a relatively straightforward and computationally efficient method, its linear frequency resolution can limit the clarity of lower harmonic details, especially for instruments like the rebana that exhibit a broad range of tonal nuances. In contrast, CQT’s logarithmic frequency scaling aligns closely with human pitch perception, revealing more detailed harmonic structures and subtle timbral variations. Although this approach demands increased computational resources, the resulting representations offer valuable insights into the instrument’s acoustic complexity. These findings suggest that CQT may be better suited for in-depth harmonic analysis and ethnomusicological research, whereas STFT remains a practical choice for applications emphasizing transient behavior or requiring real-time processing. Future work could explore hybrid strategies that combine the strengths of both transforms, yielding a more comprehensive toolkit for analyzing traditional percussion instruments and informing efforts in cultural preservation, pedagogy, and performance practice.

FOLKSONG ACROSS BORDERS: UNVEILING THE CHINESE FOLKSONG “JASMINE FLOWER” THROUGH THREE PIANO ADAPTATIONS FROM RUSSIA, AUSTRALIA, AND GERMANY

2024-12-29T16:06:07+00:00

The Chinese folksong “Jasmine Flower” is regarded as one of China’s most renowned folksongs. It has several regional variations. Over time, it has been adapted for music played with traditional Chinese musical instruments, as well as for more recent compositions for piano. This article examines three piano adaptations of this iconic Chinese folksong by composers from Russia, Australia, and Germany, highlighting their unique compositional styles and cultural interpretations. It probes deeply into how each composer intricately integrates and applies the folksong within their distinct cultural and historical contexts, particularly emphasising their technical and stylistic approaches. Based on the concept of musical syncretism, the study employs a comprehensive methodology, including in-depth harmonic, textural, and structural analyses, as well as an exploration of the integration of folk elements and innovative compositional techniques. The comparative analysis provides insights into the global dissemination and creative evolution of "Jasmine Flower", significantly contributing to the discourse on cross-cultural musical adaptations and their broader implications. The study also examines how traditional motifs are reinterpreted through modern musical language, balancing preservation and creativity.

TEMPLE AND ITS ROLE IN SUSTAINING THE IDENTITY OF THE SIAMESE COMMUNITY IN PERLIS, MALAYSIA

2024-12-30T10:44:04+00:00

Siamese in northern Malaysia in the post-colonial era is set up and learned in mainly two ways on the areas where Siamese residing is an issue of a dispute between the land either used to be occupied by Siam as a Siamese protectorate of Malaya or being a part of Malaysian peninsular. The paper examines Buddhist temples' role in Perlis and Klong Yao, a music tradition, in between religious and profane performances. Klong Yao was positioned in Perlis as a part of music serving at temple events. Presently, the Siamese are ultimately successful in revealing an image of performing identity and establishing a Siamese uniqueness through the aid of Buddhist temples. Monks and Siamese uphold the values of tradition. Additionally, the timeline of Klong Yao's performance in Perlis shows that Klong Yao is dedicated to serving religious events and is sustained by the temple. Sacred and profane gab has been seamlessly merged through Klong Yao performance.

PERFORMANCE AND IDENTITY AMONG THE DIASPORA MARITIME COMMUNITY IN SOUTHEAST ASIA: AN EXAMPLE OF SAMA DILAUT OF MALAYSIA

2024-12-31T10:56:09+00:00

Maritime communities in Southeast Asia have a close relationship with the sea. Traditionally, migration since ancient times has become a traditional practice known by various terms such as merantau, berdagang, etc. Despite continuing their lives as a diaspora, traditional cultural practices inherited from ancient times are continued to ensure that relationships with descendants continue. This paper will discuss the Sama Dilaut community or Bajau Laut, a diaspora from the Southern Philippines, through maritime migration, settling and continuing traditional practices inherited from ancient times, whether sacred or non-sacred. Through sacred performances, Sama Dilaut maintains its original cultural characteristics. They believe in ancestral practices, Omboh, as a source of power. The ancestral practices are performed through the spirit bearer, Jin, male and female (Jin Lella and Jin Denda). Through ethnographic research and observations, the sacred performances were observed and analysed. The study found that rituals, music, and dance-making are continuously performed due to the inheritance of the heirloom, the maintenance of the relationship with the ancestors, and the sustained sacred traditions among the Sama Dilaut diaspora. This paper will also discuss the participation of the younger generation of the Sama Dilaut community in exploring their ancestral tradition and practices into permissible dance and music performances, igal and tagunggu’. By doing this, the young generation appreciates their ancestral tradition, enabling them to continue Sama Dilaut or Bajau Laut as a diaspora generation.