Being characterized by a constant overlapping of different kinds of acoustic stimuli, contemporary metropolitan soundscapes are composite entities that are rather difficult to interpret. Within these contexts however, the production of live music undoubtedly has a crucial role in the construction of sonic public spaces and of the acoustic ideas and concepts that are associated with them. This paper presents some results of a research conducted in Yogyakarta (Java, Indonesia) regarding a particular kind of street music, i.e. the angklung bands: groups of buskers who make a living by performing every day in the most crowded spaces of the city. By applying the ethnographic method of participant observation, the activity of these musicians was documented, together with their life stories, repertoires and performative practices. In addition, the complexity of the phenomenon and its “osmotic” relationship with the Yogyanese urban context was carefully considered. This specific case study is utilized in order to show how an apparently marginal musical practice has had a significant function in the construction of a metropolitan acoustic environment, to the extent of becoming one of its soundmarks. This paper is accompanied by several video examples, which illustrate how the musical practice analyzed is conducted and make it possible to evaluate its impact on the surrounding soundscape.
Caratterizzati da una costante sovrapposizione di stimoli acustici di diversa natura, i paesaggi sonori delle realtà metro- politane contemporanee sono entità composite di difficile interpretazione. Entro questi contesti, tuttavia, la produzione di musica dal vivo ha senza dubbio un ruolo cruciale nella costruzione degli spazi sonori pubblici e dell’immaginario acustico ad essi associato. Nel presente articolo sono presentati alcuni risultati di una ricerca svolta a Yogyakarta (Giava, Indonesia) su un particolare fenomeno di musica di strada, le angklung bands: gruppi di musicisti di strada che si guadagna- no da vivere esibendosi quotidianamente negli spazi più trafficati della città. Applicando il metodo etnografico dell’osservazione partecipante, è stata documentata l’attività di questi musicisti, indagandone storie di vita, prassi performative e repertori, considerando la complessità del feno- meno e il suo rapporto “osmotico” con l’ambiente urbano Yogyanese. Descrivendo questo specifico caso di studio, si cercherà di dimostrare come una pratica musicale apparentemente marginale possa avere una funzione importante nella costruzione di una realtà acustica metropolitana, sino a divenirne un’impronta sonora. Il saggio è corredato da esempi video che illustrano la pratica musicale in analisi e consentono di valutarne l’impatto sul paesaggio sonoro circostante.
New urban Soundscapes: Angklung Buskers in Yogyakarta / Zappatore, Daniele. - In: ETNOGRAFIE SONORE/ SOUND ETHNOGRAPHIES. - ISSN 2611-4267. - 1:1(2018), pp. 77-102.
New urban Soundscapes: Angklung Buskers in Yogyakarta
Daniele Zappatore
2018
Abstract
Being characterized by a constant overlapping of different kinds of acoustic stimuli, contemporary metropolitan soundscapes are composite entities that are rather difficult to interpret. Within these contexts however, the production of live music undoubtedly has a crucial role in the construction of sonic public spaces and of the acoustic ideas and concepts that are associated with them. This paper presents some results of a research conducted in Yogyakarta (Java, Indonesia) regarding a particular kind of street music, i.e. the angklung bands: groups of buskers who make a living by performing every day in the most crowded spaces of the city. By applying the ethnographic method of participant observation, the activity of these musicians was documented, together with their life stories, repertoires and performative practices. In addition, the complexity of the phenomenon and its “osmotic” relationship with the Yogyanese urban context was carefully considered. This specific case study is utilized in order to show how an apparently marginal musical practice has had a significant function in the construction of a metropolitan acoustic environment, to the extent of becoming one of its soundmarks. This paper is accompanied by several video examples, which illustrate how the musical practice analyzed is conducted and make it possible to evaluate its impact on the surrounding soundscape.File | Dimensione | Formato | |
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Note: Sito editore: https://www.neo-classica.com/catalogo/etnografie-sonore/1-2018/ Sito rivista: http://www.soundethnographies.it/04.Zappatore.pdf
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