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This paper examines the Indo-mono [India-related] musical works of two Japanese composers, Kazuo Yamada (1912-1991) and Sadao Itō (1906-2005), both active in the mid-twentieth century, and the positions of their works in a line of the Indo-mono category. Indo-mono literally means something related to India. This term is used in this paper as a category of musical works related to Indic or south Asian musical and cultural elements, to denote a groupe of such musical works composed in modern Japan. Two case studies on two composers show that these Indo-mono works are the mixture of various writing methods of the Western music and Indian elements, including musical scales and Indian poetry. The general interest of Japan in Nanpō [south] area including India in early twentieth century, and Weserrnized music education system introduced since Meiji era constitute the background of such cultural hybridization found in these works. In addition, a historical connection of Japan to India over 1,200 years since the introduction of Buddhism also played an important role.

Aiming to point out the interrelations between the International Summer Courses for New Music in Darmstadt and several composers and performers who were born in China, Hong Kong and Taiwan at different times, this text draws on significant connective networks established by the directors and assistants at the Internationales Musikinstitut Darmstadt with representatives in the 3 countries mentioned during and after the Cold War. Based on documentation from IMD Archiv, this work contributes to the intercultural relations between the “Darmstadt phenomenon” and the “Chinese continent” and enhances the project of internationalization of the Darmstadtian platform devised by the musicologist and journalist Wolfgang Steinecke, who inaugurated the Darmstädter Ferienkursen after the Second World War .

This article is a part of my Doctoral dissertation, named “A study of the development, characteristics, and knowledge of Thai popular singing”, which was conducted using qualitative Ethnomusicology research methodologies. The data was collected by documents, songs, and interviewing the appropriate people who have knowledge and ability of Thai popular singing. Then, the data was examined, analyzed, synthesized, and compiled according to the objectives. The characteristics of Thai popular singing during 1925 - 1967 were divided into 8 items, which consisted of (1) Concerning the singing in Thai popular songs, (2) The vocal registers, (3) vibration, (5) dynamics, (6) The last word of a phrase, (7) Ad-lib singing, and (8) Interpretation and emotional expression. Thai popular singing was developed continuously to singing skill in Western style and completely around 1967 and it was accepted widely by Thai people and became the models of how to sing until now.

This study illuminates the vocal text of the representative composers who migrated from Korea to Germany, and their social meaning. Some view points about ‘generation’ and voice will be introduced as reference for the study. The potentiality of bilingual genre by Isang Yun (1917-1995) for example Memory (1974) and Younghi Pagh-Paan (1945-) for example Hwang-To [yellow earth] as well as the coexistential process of the voice and the instrumental sound by Un-Suk Chin (1961-) for example Akrostichon [word game] (1993) are considered. In the excursus performing Chinese Hieroglyph by Nam-June Paik (1932-2006) will be briefly mentioned. Unlike the other composers, Il-Ryun Chung (1964-) organizes the vocal text in Birnen Blüten Regen [Pear Blossoms Rain] (2009) both for the Korean and German. The last section focuses on the dichotomous generation of Korean Changjak Ŭmak ‘inside’ of Korea and its relationship to the vocal text of the composers working ‘outside’ of Korea - in this case Germany -. It came to the conclusion that the both are generatively connected.

The purpose of this study is to examine major Western theatrical theorists in the 20th century that sought effective communication methods between performers and audiences, and to seek an alternative model in p ’ ansori, a traditional Korean storytelling performance designated as a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO in 2003. It particularly investigates ch’uimsae, a special convention allowing “reactions” from the kosu, the drummer providing musical accompaniment for the p ’ ansori singer, and the audience. Ch ’ uimsae involves exclamations of encouragement that can even alter the mood of the entire performance. “One spectators/audience, two kosu, and three myŏngch’ang [one excellent audience, two excellent drummer, and three virtuoso singers].” This saying tells us that, without a good audience and kosu/drummer, skilled at ch’uimsae, a virtuoso singer’ s p’ansori cannot be completed. Spectators also play a role as the kosu ’ s avatars, since they independently perform ch ’ uimsae according to their own hearing of the performance. This study focuses on spectators’ ch’uimsae, which makes p’ansori more alive, improvisational, and interrelational. Representative theater theorists in the 20th century West tried for an equal and open relationship between performers and audience, but they did not successfully conventionalize the methods of interaction between the two parties. This paper re-examines the value of ch’uimsae in establishing such a relationship. It offers four principles of ch’uimsae: emptying-filling ( fusion/exchanging sounds between the performer and the audience), viewpoint-fusing (spectators ’ intervention when the performer switches from narrator to character, and vice-versa), deliminalization (blurring/fusion the distinction between the narrator, characters and spectators), and mirroring(showing) and relating (spectators’ supporting the performer between narration and onstage action). These principles are a conventionalized system in p’ansori performance. Thus, it has value in the study of performer-audience relationships in theatre.

As one of the centers of Javanese culture, Yogyakarta has a variety of artistic activities. Various activities have occurred for a few Centuries ago and have developed. Forms of development can be manifested in various types of art, especially in performing arts such as wayang kulit, wayang wong, classical dance, musical, literary arts, and western music orchestras. This article presents historical data on the existence of orchestral music groups in Java, especially in Yogyakarta. The purpose of this paper is to trace back the traces of the history of European musical activities that have occurred in Yogyakarta since the time of the Dutch East Indies to the Post-Independence 1950s. There are three play groups of Western music orchestras Discussed in this article related to the musical culture in Yogyakarta that existed in the past. The presence of the Western orchestra music group in Yogyakarta is one of the Successes of a process of dissemination of European music in Yogyakarta that has been going on for a long time before the independence of the Republic of Indonesia. Also, this was supported by the presence of foreign musicians who held concerts in the Indies as well as the role of private music teachers, music education institutions such as seminaries, and shops selling music instrument.