Hostname: page-component-78c5997874-s2hrs Total loading time: 0 Render date: 2024-11-08T06:25:53.510Z Has data issue: false hasContentIssue false
  • English
  • Français

Imaginary Spaces: New Malaysian performance contexts for intercultural exploration

Published online by Cambridge University Press:  30 June 2014

Andrew Blackburn  and
Jean Penny
Andrew Blackburn*
Affiliation:
Fakulti Muzik Dan Seni Persembahan, Universiti Pendidikan Sultan Idris, Tanjong Malim. 35900, Perak, Malaysia
Jean Penny*
Affiliation:
Fakulti Muzik Dan Seni Persembahan, Universiti Pendidikan Sultan Idris, Tanjong Malim. 35900, Perak, Malaysia
*
E-mails: [email protected] or [email protected]; [email protected] or [email protected]
E-mails: [email protected] or [email protected]; [email protected] or [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

The Imaginary Space: Developing models for an emergent Malaysian/Western electroacoustic music is a Fundamental Research Grant Scheme project funded by the Malaysian government in which intercultural investigation is centred within an electroacoustic performance environment. A unique series of music outcomes and potential models reflecting a symbiosis of Malaysian and Western art music through composition and performance are emerging for instrument(s) and electronics. This paper focuses on the first and second phases of the project investigating Western flute, Malaysian serunai and pensol nose flute with electronics. Multi-stranded investigations of connections are identified within the conception, composition, realisation and reception of these works. Performer perspectives are given through two case studies. Our purpose is to illuminate understandings of intercultural connections, to begin to re-conceptualise cultural research paradigms, and to see what we can discover about performance contexts and engagement with individuals, cultures and traditions. The research is contextualised within the philosophical theories of Gadamer, Merleau-Ponty and Ingold. Investigating the role of technology in this context impels a discussion of how these elements generate a new, multifaceted environment, the space in which intercultural and performative understandings can emerge. This article focuses on how these performance contexts become a place for research and new understandings.

Type
Articles
Information
Organised Sound , Volume 19 , Special Issue 2: The Sound of Cultures , August 2014 , pp. 164 - 172
Copyright
Copyright © Cambridge University Press 2014 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Affendi bin Ramli. 2011/rev. 2012. The Curse of the Screaming Serunai for flute and electronics. Unpublished score and CD.Google Scholar
Allwood, J. (ed.) 1995. Tvärkulturell kommunikation, Papers in Anthropological Linguistics 12, http://sskkii.gu.se/jens/publications/docs001-050/041E.pdf Google Scholar
Bostad, F., Brandist, C., Evensen, L., Faber, H. (eds.) 2004. Bakhtinian Perspectives on Language and Culture: Meaning in Language, Art and New Media. New York: Palgrave Macmillan.CrossRefGoogle Scholar
Bourriaud, N. 1998. Relational Aesthetics. Paris: Presses du réel.Google Scholar
Cloonan, A., Spencer, A., Saunders, S. 2005. Developing Intercultural Understanding: An Introduction for Teachers Asia Education Foundation, http://www.asiaeducation.edu.au/verv/_resources/SBdeveloping_intercultural_understanding.pdf Google Scholar
Dallmayr, F. 2009. Hermeneutics and Inter-Cultural Dialog: Linking Theory and Practice. Ethics & Global Politics 2(1): 23–39.CrossRefGoogle Scholar
Davey, N. 2011. Gadamer's Aesthetics. In E. N. Zalta (ed.), The Stanford Encyclopedia of Philosophy (Winter), http://plato.stanford.edu/archives/win2011/entries -aesthetics Google Scholar
Gadamer, H.-G. 1975. Truth and Method. London: Sheed and Ward.Google Scholar
Hasnizam, Abdul Wahid. 2013. Sound Art in Malaysia from a Malaysian Sound Artist Perspective. Malaysian Music Journal 2(2), http://mmj.upsi.edu.my/index.php/mmj-vol-2-no-2 Google Scholar
Holtorf, C. n.d. Gadamer's Hermeneutics, https://tspace.library.utoronto.ca/citd/holtorf/3.10.html Google Scholar
Ingold, T. 2008. Bringing Things to Life: Creative Entanglements in a World of Materials. http://www.reallifemethods.ac.uk/events/vitalsigns/programme/documents/vital-signs-ingold-bringing-things-to-life.pdf Google Scholar
Ingold, T. 2013. Making: Anthropology, Archaeology, Art and Architecture. Abingdon and New York: Routledge.CrossRefGoogle Scholar
Knight, P. 2011. Insight: Residual by Peter Knight and Dung Nguyen. http://www.australianmusiccentre.com.au/article/insight-em-residual-em-by-peter-knight-and-dung-nguyen Google Scholar
Lau, F. 2004. Fusion or Fission: The Paradox and Politics of Contemporary Chinese Avant-Garde Music. In Y. U. Everett and F. Lau (eds), Locating East Asia in Western Art Music (Music Culture). Middletown, CT: Wesleyan University Press, 22–39.Google Scholar
Montague, J. 2007. Origins and Developments of Musical Instruments. Plymouth: Scarecrow Press.Google Scholar
Penny, J. 2009. The Extended Flautist: Techniques, Technologies and Performer Perceptions in Music for Flute and Electronics. DMA thesis, QCGU, http://www.griffith.edu.au/__data/assets/pdf_file/0003/184782/penny_the_extended_flautist.pdf Google Scholar
Penny, J., Blackburn, A., Ross, V. 2013. Electroacoustic Music as Intercultural Exploration: Synergies of Breath in Extended Western Flute and Malaysian Nose Flute Playing. In Proceedings of Performance Studies Network Second International Conference April 2013, University of Cambridge, http://www.cmpcp.ac.uk/PSN2/PSN2013_Penny.pdf Google Scholar