The Rhythmic Gymnastics Code of Points, 2013-2016, was a milestone by allowing vocal music in routines. This study aimed to analyze the impact of this change in the routines, at the RIO 2016 Olympic ...Games. This is a documentary research, with two types of sources: official International Federation of Gymnastics; and videos of the routines. The sample was composed of 26 individual athletes and 14 teams. The analysis was quantitative (incidence parameter) and qualitative (type of music). As a result, we identified that, of the 104 songs of individual routines, 81 were instrumental music (IM) and 23 represented music with voice and words (MVW). Among the IM, 21 were North-American (NA) and 60 from other nationalities (ON). Of the MVW, 11 were NA and 12, from ON. In team routines, of the 28 songs, 17 were IM and 11 were MVW. Of the IM, 6 were NA and 11, from ON. Among the MVW, 6 were NA and 5, from ON. We conclude that most of the gymnasts and teams used this new rule of the Code of Points. This change was effectively incorporated into world prominence delegations, and we verified the strong influence of NA music.
The creative engagement of North American composers with Indonesian music has produced a great diversity of work. Focusing primarily on new music for Javanese gamelan, and drawing largely on my own ...experience as a composer with a significant involvement in the performance of traditional music, this article examines the variety of approaches taken by composers and ensembles and the different relationships to tradition they imply or embody. Arguing that creative activity cannot be understood apart from the broader presence of Indonesian music, I attempt a realistic assessment of gamelan's existence in North America on both a philosophical and practical level. I relate the basis of my own interest in the music, and recount some of the history of the group in which I started, a group which managed to avoid the schism which generally persists between composition and traditional performance. In examining different compositional approaches, I point to the interconnectedness of instruments and musical ideas, the problems with simple imitation, and the importance of the situations in which work is created, determined largely by the musicians involved.
A music educator presents an annotated bibliography of folk song collections from the British Isles and North America, and suggests that these collections form the core of general music education ...singing curricula.
