Indonesian Piano Composition In History Of Music
Proceedings of the Proceedings of the First Nommensen International Conference on Creativity & Technology, NICCT, 20-21 September 2019, Medan, North Sumatera, Indonesia
The existence of Indonesian piano music has a relationship with piano music in Europe, this can certainly be obtained through a study of the use of forms, materials, textures and techniques used by Indonesian piano composers in compositional activities. The extent to which the relationship between the development of Indonesian piano music with piano music in Europe can be done with the approach of historical musicology studies, namely studies related to the history of music, including studies
... including studies of notation, performance practices and instrumentation. The assessment stage begins by first selecting a number of composers who are considered to represent the periodization in Western music (Baroque, Classical, Romantic, and Modern), then do an analysis to the level of compositional concepts (both related to ideas and musical characters). After that, we examine the extent of the relationship of Indonesian piano music in the development trajectory of piano music in Europe. We conclude that Indonesian piano composers can be positioned and included in the Modern era. An interesting thing found from the works of Indonesian piano composers (Amir Pasaribu, Mochtar Embut, Trisutji Kamal, Jaya Suprana, and Jaya Suprana) is in the use of forms, melodies, textures and rhythms that are not bound to a particular music periodization. Indonesian piano composers broke out of standard music conventions in the Baroque and Classical periods by changing forms, according to their individuality. The findings of this study are the composition of the Indonesian piano closer to the style of the composition of the romantic period.