Ethnomusicology and Music Ecosystem

Eli Irawati

Fakultas Seni Pertunjukan, Institute Seni Indonesia Yogyakarta, Parangtritis Street KM 6.5, Yogyakarta, Indonesia

Keywords: Ethnomusicology, Ecosystem, Composition, Existence.

Abstract: The existence of musical practices among cultures and societies across the world has long been the concern

of the scholars of various field of study. Studies that have been carried out among others bring out an approach

called ecosystem of music. In this approach, the existence of music is a result of interrelating elements,

namely: the music learning system, musicians and community, context and construct, regulation and

infrastructure, and the media and music industry. In other words, there are things that go from upstream to

downstream in a sequences which is in turn establish the existence of a music. This paper attempts to examine

the role of ethnomusicologists in the effort to maintaining an ecosystem of music, focusing on an applied

ethnomusicology work, i.e. the development of cultural villages in Yogyakarta. Furthermore, by

understanding the role of ethnomusicologists in maintaining the ecosystem of music, the author are trying to

put composition major in ethnomusicology program (in this case is in department of ethnomusicology, ISI

Yogyakarta) as an effort to establishing ecosystem of music. By understanding the ecosystem music, in the

end, ethnomusicologists have realized that they have to open new scenes in the domains within the ecosystem

to maintain it.

1 INTRODUCTION

In comparison to the other disciplines in socio-

humanities in Indonesia, ethnomusicology is less

popular. In fact, in comparison to the disciplines in

music (read: Western music) it should be admitted

that ethnomusicology has not gain much popularity.

The bottom line is that ethnomusicology has not been

quite well known even among ordinary people. For

most people, music is about enjoyable sounds known

as entertainment. As a result, music is considered as

a trivial thing that should not be given serious

attention. Indeed, such view is not totally incorrect

but it is not totally correct as well. The view that

music refers to the human activities that produce

sounds for entertainment purpose appears to the

surface because music is seen as a product. Music is

not seen as a result of serious contemplation from

both individuals and communities; instead, music is

sometimes seen as a part of fun activities. As a result,

music is not considered as a serious matter and

therefore it should not be given serious attention

whereas the presence of music both in the form of

sounds and in the form of performances is the product

of a long sequence of human activities.

According to Alan Merriam, the sounds in music

is one of the chains within a cycle that produces the

music itself, starting from the concept that underlies

the music into the stimulation of behaviours that

produce those sounds. Merriam proposes how the

concept might influence the sounds in music: “There

is a constant feedback from the product to the

concepts about music, and this is what accouns both

for change and stability in music system.”(Merriam,

1964:33). Such model creates a cycle in which the

concept influences the behaviours that produce

sounds. There is a constant feedback from the product

to the concept of music and it is this constant feedback

that causes the music system to be able to change yet

it is still stable. Thereby, music system has mutually

supporting elements so that it is able to produce the

sounds in the music. In order to understand the

subject, one may borrow the concept of ecosystem

that has been generally found in the discipline of

Biology.

The Online Encyclopaedia Britannica defines

ecosystem as “the complex of living organisms, their

physical environment, and all their interrelationships

in a particular unit of space.”(britannia, 2018)

Furthermore, it is explained that:

Irawati, E.

Ethnomusicology and Music Ecosystem.

DOI: 10.5220/0008546200880094

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 88-94

ISBN: 978-989-758-450-3

An ecosystem can be categorized into its

abiotic constituents, including minerals,

climate, soil, water, sunlight, and all other

nonliving elements, and its biotic constituents,

consisting of all its living members. Linking

these constituents together are two major

forces: the flow of energy through the

ecosystem, and the cycling of nutrients within

the ecosystem.

In general, within an ecosystem there is a physical

environment in which living organisms are present

along with the energy that ensures both the

environment and the organisms to survive and

perform their activities. Similar situation is also found

in the music ecosystem. Music does not come out of

the blue; instead, music comes out from the other

elements outside the symptoms of sounds alone.

Through the article, the researcher would like to

identify the relationship between ethnomusicology

and music ecosystem with main reference to the

researcher’s experience in the field. Then, the article

is divided into five parts namely introduction, brief

explanation on music ecosystem, explanation on

mutually supporting elements within music

ecosystem with a case study on the development of

culture village in the Province of Yogyakarta Special

Region and ethnomusicology position (in terms of

both composition and creation) in a music ecosystem.

In the last part of the article, the researcher will not

provide any conclusions; instead, the researcher

would like to give reflection that is expected to trigger

further discussion about how ethnomusicology might

play more significant role in a music ecosystem.

2 MUSIC ECOSYSTEM

The idea about “music ecosystem” is probability

introduced for the first time through an article by

William Kay Archer in 1964 entitled “On the Ecology

of Music” (Huib&Dan Bendrups, 2015). The idea

then has been mostly developed by Huib Schippers.

The main point of the idea is that music ecosystem is

a unity that consists of the elements of performers

(from the music producers down to the music

consumers or from the composers down to the

musicians until the audience), environment in which

the performers and the music that they compose and

contemplate live (both the physical one and the non-

physical one) and factors that encourage the

performers continue performing their activities and

factors that maintain and preserve the environment in

which the music lives and grows.

So far, the articles that discuss music ecosystem

or music ecology have been trying to review the

continuity of music culture. Schippers proposes five

interrelated domains that play the role in maintaining

the continuity of a music namely music learning

system, musician and community/society, context

and construct, regulation and infrastructure and also

music media and industry (Schipper, 2010).

Departing from these domains, it is apparent that the

continuity of a music is supported by an ecosystem

which has synergic elements from the upstream to the

downstream. Principally, it is difficult to define which

point that belongs to the upstream and which point

that belongs to the downstream in the life cycle of a

music genre or a music culture because the elements

in the music ecosystem provide constant feedback

continuously from one to another as having been

proposed by Merriam in his classical model.

However, in general the beginning of a cycle is

defined to be the appearance of the object under

observation. In the case of music ecosystem, the

beginning or the upstream of a cycle might refer to

the time of appearance (birth, creation and

presentation) while the downstream might refer to the

time of consumption. In the case of spontaneous

composition. Composition that is directly made

during a performance, or defined as in the course of

performance (Nettl, 2015), the upstream and the

downstream might appear slightly in the same time.

Within a music ecosystem, the chains from the

upstream to the downstream involve numerous

elements. For the local-traditional music, the

elements that might be found are namely musician,

learning institution and music transition, community

of music owner, aesthetics measure (with regards to

how “appropriate” a music should be performed),

activity that becomes the context of the music (for

example: rituals, because it should be admitted that

most of the music in Archipelago is music “in

framework”) and shaman/figure who leads ceremony,

procession and alike. For the genre of modern music,

the elements that might be found in the ecosystem

namely musician, recording agency or label, fans,

distributor, learning institution (formal or non-

formal), broadcast institution, retail store (although

nowadays retail store has been rarely found),

regulation on copyright, recording studio, provider of

recording software and hardware, social network and

web sites.

These elements principally consist of multiple

stakeholders who keep the cycle moving. In order to

attain more concrete description on how these

stakeholders play their role in the music ecosystem,

or specifically in the culture ecosystem, the

Ethnomusicology and Music Ecosystem

researcher would like to share an example in the form

of culture villages development in the Province of

Yogyakarta Special Region because the researcher

has been directly involved within the development.

As a result, the researcher has first-hand experience

and information

3 ESTABLISHING CULTURE

ECOSYSTEM: AN EXAMPLE

FROM YOGYAKARTA

Yogyakarta has been known as “City of Culture.”

Therefore, it is no wonder that one of the aspects that

become the centre of gravity for the privilege of the

Province is culture as having been formulated in Law

Number 12 Year 2012 Regarding the Privilege of the

Province of Yogyakarta Special Region. In

preserving the privilege, the Province of Yogyakarta

Special Region has four main pillars known as 4k

namely kraton (Sultanate), kaprajan (Government),

kampus (campus or academy) and kampung (village

or community). The four pillars automatically

become the foothold of culture ecosystem in

Yogyakarta (www.jogjaprov.go.id, 2018).

One of the programs that have been implemented

within the framework of the privilege within the

Province of Yogyakarta Special Region is culture

village development. This program has legal

protection namely Governor Regulation Number 36

Year 2014 Regarding Culture Village and so far there

are 56 Culture Villages that have been developed in

the Province. The main objective in the program

implementation is to improve the quality and the

activity of cultural effort in the villages that have

already hold the status of Culture Village and the

activities in the program implementation are namely

establishing coordination between village

government and provincial government, collecting

data about the potentials of the culture village,

establishing organizations of culture village caretaker

that will be the partner of village government in the

effort of developing the pertinent village culture,

designing village culture programs, reporting and

evaluating village culture activities and pursuing

dynamism in the activities of actualizing, developing

and preserving cultural potentials. Up to date, there

are quite plenty of human resources with

ethnomusicology educational background (who

might be called as ethnomusicologist) who have been

involved in the program and who have given

emphasis on the music culture in the culture village.

The work that the ethnomusicologists have

performed in the program does not only focus on the

musical activities but also the musical practice so that

a musical group might survive and strive. In the early

years of the program implementation, it should be

admitted that most works are directed toward how to

provide technical skills to the musical performers in

the targeted villages. Unfortunately, this work bears

certain risks. In terms of ethics, the involved

ethnomusicologists might step over the local human

resources who possess more insight about the

practical aspects in their music and life context. In

addition, many people perceive that performing the

work through such manner might threaten the bread

and butter of the local musicians (most of the local

people earn their bread and butter from teaching the

local musical group, working as gamelan teacher,

working as music teacher for jathilan, teaching

traditional dance and alike). In addition, these groups

still do not have plenty space for expressing

themselves and they barely have supports from the

other stakeholders.

In the development, and also based on the

evaluation results, the work then is directed more to

how to establish the connection between the art

performers in the culture villages and the culture

village government and the culture village to the other

stakeholders (in this case the kaprajan, the kampus or

the kraton). The connection with the kraton is actually

vaguer since the kraton becomes the cultural

“reference” or the cultural patron. In other words, the

connection with the kraton is actually vagyes since

the kraton is the centre of the culture. Despite the fact

that the kraton becomes the centre of the culture, the

kraton still provides some space for the facilitation of

the art groups (such as karawitan or traditional

gamelan music group) from the villages to routinely

perform in the kraton. Then, in the connection with

the kaprajan the culture village caretakers are

encouraged to scrutinize the programs that have been

provided by numerous institutions for the sake of mix

and match so that the culture village caretakers might

attain support from the related institutions. For

example, many programs that belong to the regional

government (both in the province level and in the

regency level) now have been executed in the culture

villages. On the contrary, the regional government

nowadays has frequently involved the performers

from the culture villages in the planning and the

execution of the regional government’s programs; for

instance, these performers are involved in the

formulation of value system draft during the

discussion of development planning. Then, in the

village level the performers who are organized in the

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

culture village caretakers have now been involved in

the formulation of middle-term development

planning (accompanying the section of service that is

in charge of the domain of cultural affairs). Another

activity that has been performed altogether with the

regional government is data collection. In the present

time, the regional government is easier to gather

information due to the presence of the culture village

caretaker that is in charge of cultural affairs and

becomes the partner of the culture village

government. In terms of regulation, the regional

government has issued the governor decree and the

other decree that support the presence of culture

village and that also divides the responsibility of

village culture caretaking activities (under the

provincial government) and the responsibility of

village culture stub (under the regency government).

Furthermore, the performers in the culture

villages are also encouraged to establish connection

with higher education institutions in Yogyakarta. For

instance, such cooperation that has been established

is the cooperation between several culture villages

and the community service institutions for holding

training in activity program design and master plan

among the village culture caretaker and the technical

training and guidance provided by the university

students who have been sent to develop and guide the

art domains with the art performers in the culture

villages (including the training and guidance in the

domains of music, dance, handicraft, package and

alike). The improvement on the knowledge and skills

is also pursued by the involved musicologists by

mutually sharing their knowledge and insight to the

art performers, by providing presumably relevant

references, by motivating the art performers and by

providing feedback if they are asked to do so.

Relationship is also continuously established

between the culture villages and the private

institutions, for instance, by proposing certain offers

to hotel or restaurant managements so that the culture

villages might their cultural potentials, both the

performance-related potentials and the handicraft-

related potentials, before the guest of the hotel or the

restaurant. The performance groups from these

culture villages are expected to have regular schedule

of performance in the hotel or restaurant and, in the

same time, the local handicraft product might also be

displayed in the hotel or the restaurant as part of

promotion and marketing efforts to the guest.

Through this cooperation, it is expected that the

economy of the art performers in the culture villages

might be improved.

The main idea or the main objective of the

program is to assist the art performers in the culture

village to be the main potentials of their own culture

village. The connections that have been established

with the other stakeholders aims at increasing their

capacity in caretaking their cultural potentials. Those

connections are built upon the awareness on the

importance of the access toward all matters that

support the cycle of culture ecosystem, starting from

the upstream to the downstream. The

ethnomusicologists who have participated in the

program deal how to keep increasing the capability of

the musicians in the culture villages until how to

attain the space for displaying their works. in this kind

of effort, the capacity of creating composition and

presentation should be possessed by an

ethnomusicologist.

During the fieldwork, the ethnomusicologists who

have been involved in the program, along with the

village government and the figure of local tradition,

are demanded to carry out data collection and

mapping and also to design action plan in order to

increase the activities of actualizing musical practice

in specific, and cultural practice in general, within the

community where they have been working. The

program that has been designed certainly affords the

establishment of the connection with the kraton, the

kaprajan and the kampus in order to attain as

maximum results as possible with as minimum capital

as possible. From the results of the brief research that

has been conducted (for instance: village history,

local concept, historical site and alike), the

ethnomusicologists encourage the culture village

musicians to give new touch to their work and activity

(for example: turning the history of their village into

the local concept or the local instrument as the source

of creative ideas). One of the examples is the use of

joglo (Javanese traditional house) that has historial

values for holding children art performance. The

history of joglo is presented in a sequence of children

art performance (karawitan, macapat, badui) that tells

the history of the joglo along with the changes within

the village. There is also a festival known as sorthong

(a simple device made of bamboo which functions to

assist the irrigation) and in this festival sorthong is

exploited as the source of the sound and the sorthong

is arranged in such a way that it will produce musical

composition. Moreover, the ethnomusicologists

should also contemplate about how to attain the space

of expression, the support from the government and

the attention from the university for the musical

groups that have been their partner so that the musical

groups will be provided with training and guidance in

order to improve the capacity.

In relation to the use of media, the

ethnomusicologists in the program is also demanded

Ethnomusicology and Music Ecosystem

to establish connection with the local media and to

establish their own Internet-based information

channel and publication by creating web sites or

social media that tends to incur lower operational

cost. A good example of this matter is the web site of

Culture Village in Regency of Sleman,

www.desabudayasleman.org, that has been officially

announced by the Regent of Sleman in 2017. In the

future, the web site is expected to be the information

media and also the database of culture villages in the

Regency of Sleman.

The main point in this context is that the

ethnomusicologists who have been participated in the

program are demanded to be the facilitator, the

motivator and the creator. Such fieldwork directs the

ethnomusicologists to implement their knowledge

and insight in the real-life situation and thus the

application might be termed as applied

ethnomusicology. The ethnomusicologists should

think in practical manner in order to solve the

problems that they have found in the field within the

effort of assisting the community that becomes their

partner. It will be very naïve if people think that the

ethnomusicologists segregate themselves by claiming

that the domain of ethnomusicology is merely about

review. Moreover, from this point of view it is also

apparent that the ethnomusicologists are demanded to

have good communication and diplomacy skills in

order to establish the connection with the

stakeholders.

Therefore, in the future it should be admitted that

the ethnomusicologists are demanded to perform

contemplation with the approach of music ecosystem

in order to preserve the musical cultures so that these

cultures will survive. The flow from the upstream to

the downstream should be put into consideration in

order to map all potentials that might appear, both the

inhibiting ones and the supporting ones. The reason is

that by the time an ethnomusicologist performs the

fieldwork his or her disciplinary idealism sometimes

does not meet the existing conditions and therefore

the ethnomusicologist is demanded to be more aware

and more responsive to the surrounding environment.

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named times, except on special occasions, such as

program code (Section 2.3.7).

4 CREATION IN

ETHNOMUSICOLOGY?

Learning from the reality in the applied art world as

explained above, writer is interested to discuss on the

existence of creation in ethnomusicology. That is

based on some discussion which focus on appearing

main interest of music creation in ethnomusicology

department. Some people might say that

ethnomusicology, with the word ‘logos’ attached to

it, is a discipline which focus on the domain of the

study or research, so that it is not proper if

ethnomusicology department in charge of an interest

fixate on music creation practices. Besides, some

other people might not consider it as a big matter.

Next, there might be some group of people who think

that “ethnic music is inappropriate to be created in an

academic context. Ethnic music is indeed a music

which was born in a life of an ethnic group, not to be

created in a classroom”. These opinions are not

wrong, but could be not absolutely correct.

When we look closer, it seems like there were a

contradictive grouping of ethnic music and non-

ethnic music (western music). Ethnic music is a kind

of music which come from a community (could be an

ethnicity) . It could be anonymous or there might not

be a single creator. On the other hand, non-ethnic

music (western music) have their creators or song

writers. Above all, the question is: are thus mean non-

ethnic music is not a kind of music which come from

a society and the existence could be maintained by

people’s participation? If we use music ecosystem

approach, then either ethnic music or music which is

categorized as non-ethnic one could live and grow

due to the participation of the people. Thus, if we

claim ethnic music is not meant to be created (by

someone in the classroom), then so it is with the non-

ethnic music, as both of them still need society/its

community and live between them. Even so, a matter

of whether ethnomusicology study is proper enough

to take care about western music is still often become

an object of discussions. Jaan Kunst, in the beginning

of ethnomusicology history, stated that Western art

music is not an object of ethnomusicology study.

Kunst stated:

The study-object of ethnomusicology, or, as it

originally was called: comparative musicology, is

the traditional music and musical instruments of

all cultural strata of mankind, from the so-called

primitive peoples to the civilized nations. Our

science, therefore, investigates all tribal and folk

music and every kind of non-Western art music.

Besides, it studies as well the sociological aspects

of music, as the phenomena of musical

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

acculturation, i.e. the hybridizing influence of

alien musical elements. Western art- and popular

(entertainment-) music do not belong to its field

(Kunst, 1969).

There are also some people who consider that it is

not right if there is creation as a main interest under

ethnomusicology department, but on the contrary it

should be under music department, with a claim that

no matter what object is being created or composed,

either western music or non-western music, they

belong to just music. The matter of whether music

creation as a main interest is more appropriate to be

under ethnomusicology department or music

department, seems a bit similar to a debate which

have ever arisen in the west about whether

ethnomusicology department more appropriate to be

under music or anthropology faculty. Is

ethnomusicology department more appropriate to be

under faculty of performance (like in have in ISI

Yogyakarta) or cultural science faculty (like in USU

Medan), because ethnomusicology is not a branch of

art, but it is actually a since about art, which is music.

Furthermore, if the emergence of creation as a

main interest in ethnomusicology is considered to be

violating the nature ethnomusicology which is a

science about studies and thus is considered to be

potentially turning “the history” of ethnomusicology.

Isn’t it happening? Although at the beginning art

music and western performance, as stated by Kunst,

are not an object of ethnomusicology studies, there

are many studies about non-ethnic music emerging

right now, even studies about music which are

categorized as the contemporary one (Post, 2007).

Initially ethnomusicology is a study which is done by

someone to some music outside their culture (mostly

westerners who did a research about non-western

music were called an ethnomusicologist, while a non-

westerners who did research about western music

were called a musicologist) because they are

considered capable to avoid bias. Today’s fact is on

the other hand: insiders are considered more capable

to uncover the concepts their own music, and the

matter of bias could be minimized through

measureable methods.

Like the approach that writer tries to discuss in

this paper, it is to look at a music culture life as an

ecosystem, probably the emergence main interest of

music creation under ethnomusicology department is

not a real important thing to be disputed because there

is almost no negative impact according to writer. On

the other hand, the emergence of this main interest, in

ecosystem music context, give a new space in

learning domain. As one of the chains of music

ecosystem, the emergence of music creation as a main

interest provides a room which is expected to be able

to accommodate those who put more interest in music

composition or music creation, which later on will

keep producing music products. However, according

to writer, the things that still should be thought about

and developed are the methods inside. Under

department o ethnomusicology, creation as a main

interest should keep exploring composition methods

and concepts from various music culture in

Indonesian archipelago as it source. As an example,

kelentangan music practice from Dayak Benuaq, East

Borneo, which shows that music transmission process

couldn’t be separated from it rites context, could be

explored to see how the relation of pemeliatn

movement and kelentangan percussion instrument

pattern in a series process bekajiq (niteni, paying

attention to), kintau (niro’ake, imitating), and tameh

(nambahi, adding, developing) which performed by a

penu’ung (musician), (Irawati, 2016). How a

penu’ung develops base percussion patterns in

accordance to his/her ability to follow the movement

of pemeliatn and rite structure could be one of the

references in music creation aspects in

ethnomusicology department (Irawati, 2017).

Another example that could be explored in the matter

of method is how a pakacaping is able to create a song

spontaneously using the surrounding circumstances

as an inspiration. Actually, many of our musical

practices are very interesting to be learnt about and

taken as sources in connection to creation methods.

The most appropriate (and might be the most fun) to

do this is an ethnomusicologist have to directly

involve in the activity of the society which owns the

music. Because in doing so, an ethnomusicologist

will experience the dynamics of a music ecosystem.

Back to the matter of music ecosystem, as have

been explained above, we can see that the fact in the

real world nowadays, an ethnomusicologist is

required to be present and participating in solving

problems directly, not only giving theoretical

arguments. Moreover, when working in the real

world, basically there is no more chance to claim that

as an ethnomusicologist, a person is only obliged to

help doing a job related to things in nature of studies.

Music ecosystem pushes ethnomusicologists to be

sensitive and to get involved in conserving a music

culture from its aspects, not just stick to discipliner

idealism.

5 CONCLUSIONS

As have been stated in the beginning, writer would

not end this paper with a conclusion. On the other

Ethnomusicology and Music Ecosystem

hand, writer want to ask the reader to contemplate

more on how far have we get involved, as an

ethnomusicologist or person who put an interest in

culture, in understanding a music culture as an

ecosystem. Beyond all questions, there is an aspect or

more in music ecosystems which become a focus of

an ethnomusicologist. However, have we think

further about our role and the side effect of another

aspect in music ecosystem?

Next, with understanding music ecosystem, it is

common that an ethnomusicologist start to open new

rooms or domains in that ecosystem, to maintain or

even strengthen the chains. The emergence of

creation as a main interest in ethnomusicology

department, for example, could be seen as one of the

efforts to strengthen learning domain which later on

will affect the flow of upstream and downstream

music ecosystem. Besides, we are obliged to consider

about how some appropriate methods, which one

among them could be extracted from compositional

methods of various musical practice in Indonesia. So,

studies and creation could take their own role in

music ecosystem. Or, is it possible that studies and

creation in ethnomusicology are one two sides of a

coin?.

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ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities