“Traditional Music Weeps” and Other Themes in the Discourse on Music, Dance and Theatre of Indonesia, Malaysia and Thailand

Journal of Southeast Asian Studies

Volumn 26, Issue 2, 1995, Pages 366-400

  Kartomi, Margaret J ^a  

^a MONASH UNIVERSITY   (Australia)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84972192040     PISSN: 00224634     EISSN: 14740680     Source Type: Journal    
DOI: 10.1017/S0022463400007141     Document Type: Article

References (264)

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113. Tan Sooi Beng, “Counterpoints in the Performing Arts of Malaysia”, in Fragmented Vision, ed. J.S. Kahn and F. Loh Kok Wah, pp. 282–306.
114. Judith Becker, “A Southeast Asian Musical Process: Thai thao and Javanese irama”, Ethnomusicology 24 (1980): 64–553.
115. Deborah Wong and Rene Lysloff, “Threshold to the Sacred: The Overture in Thai and Javanese Ritual Performance”, Ethnomusicology 35-3 (1991): 91–381.
116. Jose Maceda, “In Search of a Source of Pentatonic, Hematonic and Anhemitonic Scales in Southeast Asia”, Acta Musicologica 62:2-3 (1990): 192–230.
117. Roger A. Long, “Crosscultural Influences on Original Creative Productions: Traditional Southeast Asian Theatre as a Source for Intercultural Creation”, unpublished paper presented at the International Seminar on Southeast Asian Traditional Performing Arts, Universiti Sains Malaysia, Penang, 1992.
118. Becker, “Southeast Asia”.
119. Terry E. Miller, “Reconstructing Siamese Music History from Historical Sources, 1548 - 1932”, Asian Music y 15-2 (1984): 32;
120. Thai “archeological dances” choreographed by recent Thai dance experts.
121. Panya Roongruang, Thai Music in Sound, 2nd ed. (Bangkok: Chulalongkom University, 1990)
122. Hardja Susilo, “Wayang Wong Panggung: Its Social Context, Technique and Music”, in Aesthetic tradition and cultural transition in Java and Bali, pp. 62-117;
123. Soedarsono, Wayang Wong. Susilo emphasizes the music and Soedarsono the dance elements, and both offer some historical perspectives.
124. Jennifer Lindsay, “Klasik, Kitsch, or Contemporary: A Study of the Javanese Performing Arts” (Ph. D, diss., University of Sydney, 1985).
125. Klasik, Kitsch, Kontemporer. Sebuah Studi Tentang Seni Pertunjukan Jawa (Yogyakarta: Gadjah Mada University Press, 1991).
126. Marion de Cruz, “Joget Gamelan” (MA diss., Universiti Sains Malaysia, 1979);
127. Patricia Matusky, Malaysian Shadow Play and Music, Continuity of an Oral Tradition (Oxford University Press, 1993);
128. Nancy Nanney, “An Analysis of Modern Malaysian Drama” (Ph.D. diss., University of Hawaii, 1983).
129. Harun Mat Piah and Siti Zainon Ismail, Lambang Sari, Tari Gamelan Terengganu [Dance and Gamelan of Terengganu] (Bangi: Universiti Kebangsaan Malaysia, 1986).
130. Omar Ahmad, “Joget Gamelan: The Art of Orchestral Dance”, Performing Arts 1-1 (1984);
131. “The Performing Arts in Malaysia: State and Society”, Asian Music 21-1 (1989/90): 71–137.
132. Patricia Matusky, “Music of Sarawak: A Contextual View of Vocal and Instrumental Genres”, in Southeast Asian Traditional Performing Arts' The State of the Art (Penang: Universiti Sains Malaysia, in press);
133. Carol Rubinstein, The Honey Tree Song: Poems and Chants of Sarawak Dayaks (Athens, Ohio: Ohio University Press, 1985).
134. Robert Harrison, “Where have all the Rituals Gone? Ritual Presence among the Ranan Dusun of Sabah, Malaysia”, The Imagination of Reality, ed. Becker and Yengoyan, pp. 55–74.
135. V.K. Gorlinski, “Gongs among the Kenyah Uma’ Jalan: Past and Present Positioin of an Instrumental Tradition”, Yearbook for Traditional Music 26(1994): 81–99.
136. Ashley Turner, “Belian as a Symbol of Cosmic Reunification”, in Metaphor: A Musical Dimension, ed. J. Kassler (Sydney: Currency Press, 1991).
137. “The Social Structuring of Sound: The Temiar of Peninsular Malaysia”, Ethnomusicology 28:3 (1984): 45-411;
138. “Pure Products Go Crazy: Rainforest Healing in a Nation-state”, in Women and Music in Cross Cultural Perspective, ed. Ellen Koskoff (University of Illinois Press, 1987), pp. 50-131;
139. Mohd Thib Osman, Bunga Rampav Aspects of Malay Culture (Kuala Lumpur: Dewan Bahasa dan Pustaka, 1984);
140. Rahmah Bujang, Boria, A Form of Malay Theatre (Singapore: Institute of Southeast Asian Studies, 1987), pp. 7-12;
141. Tan Sooi Beng, “Counterpoints”, pp. 81–254.
142. Thn, “Counterpoints”, pp. 282–306.
143. Mohd Anis Md Nor, Zapirv Folk Dance of the Malay World (Kuala Lumpur: Oxford University Press, 1994).
144. Ghulam Sarwar Yousof, writing in the New Straits Timesy 14 April 1984.
145. Thn, “Counterpoints”, p. 287.
146. R. Anderson Sutton, Traditions of Gametan Music in Java; Musical Pluralism and Regional Identity (Cambridge University Press, 1991).
147. Felicia Hughes-Freeland, “Revivalism as a Defining Stand in Yogyakarta Court Dance”, Indonesia Circle 37 (1985): 35–43.
148. Felicia Hughes-Freeland, “Indonesia Image Enhancement”, Anthropology Today 5-6 (Dec. 1989): 4.
149. Judith Becker, “Southeast Asia”, in Ethnomusicology: Historical and Regional Studies, ed. H. Myers (London: Macmillan, 1993), p. 108.
150. Judith Becker, “One Perspective on Gamelan in America”, Asian Music 15-1 (1984): 82–89.
151. Bill Martin, “Cambridge Gamelan Society”, Balungan 1-3 (1985): 22.
152. Linda Burman-Hall, “Nano S.'s Wama: A Life in Music”, Balungan 5-2 (1993): 24 - 29;
153. Nikhil Dally, “Fekan Komponis VIII: A National Composers' Festival”, Balungan 4-1 (1989) : 2 - 6;
154. Jody Diamond, “New Music from Indonesia”, KPFA Folio (Berkeley, California) 41-10 (Nov. 1989): 1;
155. Vincent McDermott, “Gamelans and New Music”, The Musical Quarterly 72-1 (1986): 16-27;
156. Larry Polansky, “Timing Systems in American Gamelan”, Balungan 1-2 (1985): 9-11;
157. Ben Brinner, “Cultural Matrices and Innovation in Central Javanese Performing Arts”, paper presented at the Festival of Indonesia Conference.
158. Thomas Dwight, “Lou Harrison's Double Concerto for Gamelan, Violin and Cello: Juxtaposition of Individual and Cultural Expectations”, Asian Music 15-1 (1983): 90–102.
159. I. Wayan Sadra, Tinjauan Karya-karya Barn [An Exploration of New Composition] (Surakarta: STSI, 1988).
160. Richard Mueller, “Bali, Thbuh-tabuhan and McPhee's Method of Intercultural Composition”, Journal of Musicological Research 10-34 (1991): 68-127;
161. Carol J. Oja, Colin McPhee: Composer in Two Worlds (Washington: Smithsonian Institution Press, 1990).
162. Michael Tenzer, Balinese Music (Singapore: Periplus Editions, 1991).
163. Pamela Myers-Moro, “Teachers on Tape: Innovation and Experimentation in Teaching Thai Music”, Balungan 5-1 (1991).
164. Judith Becker, “Kroncong: Indonesian Popular Music”, Asian Music 7-1 (1975): 14-19;
165. Ernst Heins, “Kroncong and Thnjidor: Two Cases of Urban Folk Music in Jakarta”, Asian Music 7-1 (1975): 20-32;
166. Bronia Komhauser, “In Defence of Kroncong”, in Studies in Indonesian Music, ed. Kartomi (Clayton: Centre for Southeast Asian Studies, Monash University, 1978).
167. Phillip Thomas, Like Tigers around a Piece of Meat: The Baba Style of Dondang Sayang (Singapore: Institute of Southeast Asian Studies, 1986).
168. William H. Frederick, “Rhoma Irama and the Dangdut Style: Aspects of Contemporary Indonesian Popular Culture”, Indonesia 34 (Oct. 1982): 103–130.
169. “Indonesian Popular Music”, Music and Popular Culture: Australia and Asia, td. M. Kartomi and P. Hayward (Melbourne: Open Learning Australia, 1994), pp. 309–324.
170. Gunawan Subagio, A pa itu Lagu Pop Daerah? [What is a Regional Popular Song?] (Bandung: PT Citra Aditya Bakti, 1989);
171. Peter Manuel and Randall Baier, “Jaipongan: Indigenous Popular Music of West Java”, Asian Music 18-1 (1986): 91-110;
172. Sean Williams, “Current Developments in Sundanese Popular Music”, Asian Music, 21-1 (1989-90): 105–136.
173. Philip Yampolsky, “Hati Yang Luka; An Indonesian Hit”, Indonesia 47 (April 1989): 2–17.
174. Andreas Harsono, “A Star is Banned”, Inside Indonesia 21 (1989): 14–15.
175. J.D. Chopyak, “Music in Modern Malaysia: A Survey of the Musics Affecting the Development of Malaysian Popular Music”, Asian Music 18-1 (1990): 37-111;
176. J.D. Chopyak, “The Role of Music in Mass Media, Public Education and the Formation of a Malaysian National Culture”, Ethnomusicology 31 (1987): 54-431;
177. Craig A. Lockhard, “Reflections of Change: Sociopolitical Commentary and Criticism in Malaysian Popular Music since 1950”, Interdisciplinary Journal of Southeast Asian Studies 6-1 (1991): 1–111.
178. Pamela A. Myers-Moro “‘Songs for Life’: Leftist Thai Popular Music in the 1970s”, Journal of Popular Culture 20, 3 (1975): 93–117.
179. J. Maure and H. Charlton, “Two Faces of Thailand: A Musical Portrait”, Beatings of the Heart, Popular Music of the World (London: Pluto Press, 1985), pp. 198–214.
180. Terry E. Miller, traditional Music of the Lao; Khaen Playing and Mawlum Singing in Northeast Thailand (Westport, Conn.: Greenwood, Press 1985);
181. Reis Flora and Christian Bauer, “Mon Music: Vocal and Instrumental”, Proceedings of the International Conference on Thai Studies, vol. 2, comp. Ann Buller (Canberra: Australian National University, 1987), pp. 1-19;
182. Peter M. Kedit, “Sambe, Sambe Making”, in Asian Musics in an Asian Perspective, ed. F. Koizumi and others (Tokyo: The Japan Foundation, 1977), pp. 42-77;
183. Kartomi, “Wayang Kulit and Mamanda Musical Theatre in South Kalimantan”, Performing Arts of Southeast Asia, ed. Ghulam Sarwar Yousof, (Penang: University Sains Malaysia, in press);
184. Kartomi, “Dabuih in West Sumatra: A Synthesis of Muslim and Pre-Muslim Ceremony and Musical Style”, Arc hi pel 41 (1991): 33-52;
185. Kartomi, “Contact and Synthesis in the Development of the Music of South Sumatra”, in Festschrift for Andrew McCredie, ed. David Swale (Wilhelmshaven: Heinrichhofensverlag, 1995);
186. Christopher Basile, “Music of Roti” (Ph.D. diss., Monash University, in progress).
187. Endo Suanda, “Dancing in Cirebonese Topeng”, Balungan 3-3 (1988): 7-15;
188. “Seniman Cirebon Dalam Konteks Sosialnya”, Seni Pertunjukan Indonesia 1-1 (1990): 26-52;
189. Basoeki Koesasi, Lenong and Si Pitung (Clayton: Centre for Southeast Asian Studies, Monash University, 1992);
190. Ninuk Kleden-Pronegoro, “Teater Topeng Betawi Sebagai Teks dan Maknanya: Suatu Thfsiran Antropologi” [Batavian mask Theatre as Text and Meaning: an Anthropological Viewpoint], Masyarakat Indonesia 14-2 (1987): 101-125;
191. “Kritik dalam Seni Pertunjukan Tradisional: Kasus Teater Betawi”, Masyarakat Indonesia 16-2 (1987): 65-157;
192. Sutton, Thiditions of Gamelan Music in Java.
193. Artur Simon, “The Terminology of Batak Instrumental Music in Northern Sumatra”, Yearbook for Traditional Music 13 (1985): 45-113;
194. “Gondang, Gods and Ancestors, Religious Implications of Batak Ceremonial Music”, Yearbook for Traditional Music 25 (1993): 81-88;
195. Rainer Carle, Opera Batak: Das Wandertheater der Toba Batak in Nord-Sumatra: Schauspiele zur Wahrung kultureller Identitdt im nationalen Indonesischen Kontext, 2 vols. (Berlin: Dietrich Reimer Verlag, 1990).
196. Kartomi, “Music in Sumatra”, Encyclopedia of World Music, ed. Timothy Rice and James Porter (Garland, in press).
197. Kartomi, “Muslim Music in West Sumatran Culture”, The World of Music 3-8 (1986): 13-32;
198. Barbara Hatley, “Theatre and Politics of National/Regional Identity: Some Sumatran Examples”, Review of Indonesian and Malaysian Affairs 25-2 (1991): 1–18.
199. Kartomi, “Is Maluku still Musicological Terra Incognita? An Overview of the Music-Cultures of Maluku”, Journal of Southeast Asian Studies 25-1 (1994): 71-141;
200. David Harnish, “Religion and Music: Syncretism, Orthodox Islam, and Musical Change in Lombok”, Selected Reports in Ethnomusicology 7 (1988): 39-123;
201. “The Preret of the Lombok Balinese: Transformation and Continuity within a Sacred Tradition”, Selected Reports in Ethnomusicology (Issues in Organology) 8 (Los Angeles: University of California, 1990), pp. 20-201;
202. Kenneth M. George, “The Singing from the Headwaters: Song and Tradition in the Headhunting Rituals of an Upland Sulawesi Community” (Ph.D. diss., University of Michigan 1989);
203. Douglas Myers, “Outside Influences on the Music of Nusa Tenggara Timur”, in Culture and Society in New Order Indonesia, ed. V. Hooker, pp. 27-211;
204. Kartomi, “Appropriation of Music and Dance in the Former Spice Islands”.
205. Endo Suanda, “The Social Context of Cirebonese Performing Artists”, Asian Music 13:1 (1981): 27-42;
206. “Ceribonese Topeng and Wayang of the Present Day”, Asian Music 16-2 (1985): 84–120.
207. Boonmanam Chalermsak Pikulsri, “A Study of the Musical Instruments Described in the Tripitaka (an Early Buddhist Text) and their Relationship to Thai Classical Instruments” (M. Phil thesis, Banaras Hindu University, 1988).
208. Poonpit Amatyakul, “Lao Ruang Kamnoet Khong Wong” [On the Origin of the Gong Circle] in Saksri Dontri Thai: Ngan Dontri Thai Udom Suska Khrang Thi 16 [The Glory of Thai Music, The 16th Annual Festival for Thai Music in Higher Education] (Songkhla: Srinakharinwirot University);
209. “Phraya sano Duriyang (Chaem Sunthorawathin) (BE 2409-2492)”, in Dontri Wichak Khawamru Buang 7bn Kieo Kap Dontri Khong Thai Phua Khwamchun Chom [Music Investigated: Introductory Knowledge about Thai Music, for Appreciation], 2nd ed. (Bangkok, 1986), pp. 28-126;
210. Sangat Phukhaothong, “Phleng Dieo [Solo pieces]”, in Kan Dontri Thai Lae Thang Khao Su dontri Thai [Matters of Thai Music, and the Way to Enter into Thai Music] (Bangkok: Department of Fine Arts, 1989), pp. 23-219;
211. Panya Roongruang, Dontree Thai Prgawab Siang: Thai Music in Sound (Bangkok: Thai Watana Panit, 1990);
212. Uthit Nakasawat, “Thang Dieo [The solo style]”, in Thrisadi Lae Padbat Dontri Thai [The Theory and Performance of Thai Music], 5th ed. (1987): 47–52.
213. Pamela Myers-Moro, “Thai Music and Musicians in Contemporary Bangkok: An Ethnography” (Ph.D. diss., University of California at Berkeley, 1988);
214. P. Myers-Moro, “Names and Civil Service Titles of Siamese Musicians”, Asian Music 19, 2 (1988): 82-92;
215. P. Myers-Moro, “Musical Notation in Thailand”, Journal of the Siam Society 78, 1 (1990): 101–108.
216. Terry E. Miller, “Reconstructing Siamese Musical History from Historical Sources: 1548 - 1932”, Asian Music 15, 2 (1984): 32-42;
217. “The Theory and Practice of Thai Musical Notation”, Ethnomusicology 36, 2 (1992): 197–222.
218. L.E.R. Picken, C.J. Adkins and R.F. Page, “The Making of a Khaen: the Free-Reed Mouth Organ of North-East Thailand”, Musica Asiatica 4 (1984): 54-117;
219. Gerald P. Dyck, “Lung Noi Na Kampan Makes a Drumhead for a Northern Thailong Drum”, Selected Reports in Ethnomusicology 2, 2 (1975): 183–204.
220. Deborah Wong, “Thai Cassettes and their Covers: Two Case Histories”, Asian Music 21-1 (1989/90): 78-104;
221. Deborah Wong, “Across Three Generations: A Solo Piece for Thai Gong Circle”, Balungan 5-1 (1991): 2–9.
222. Miller, The Traditional Music of the Lao; and Amy Catlin, “Songs of Hmong Women: Virgins, Orphans, Widows and Bards”, Textiles as Texts: Arts of Hmong Women from Laosy ed. Amy Catlin and Dixie Swift (Los Angeles: The Woman's Building, 1987).
223. Thn Sooi Beng, “Chinese Opera in Malaysia: Changes and Survival”, Review of Southeast Asian Studies 10 (1980): 29-45;
224. Thn Sooi Beng, “Ko-tai, A New Form of Chinese Urban Street Theatre in Malaysia” (Singapore: Institute of Southeast Asian Studies, 1984), 40 pp.;.
225. Philip Yampolsky, Music from the Outskirts of Jakarta: Gambang Kromong (Smithsonian Folkways Recordings, CDSF40057 1991);
226. Kartomi, “History of Musical Repression among Chinese-Indonesian Minority Groups”, in Music and Repression, ed. Philip V. Bohlmann (Chicago: University of Chicago Press, in press).
227. Richard Wallis (Garland Press, in press).
228. I Made Bandem, Ensiklopedi Gambelan Bali (Denpasar: Proyek Penggalian, Pembinaan dan Pen-gembangan Seni Klasik/Tradisional dan Kesenian Baru, Pemerintah Daerah Tingkat I Bali, 1983);
229. Atik Sopandi, Kamus Istilah Karamtan Sunda [Dictionary of Sundanese Karamtan Terms] (Bandung: Penerbit CV Pustaka Buana, 1988).
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231. Andrew Toth, Recordings of the Traditional Music of Bali and Lombok (The Society for Ethnomusicology, 1980);
232. Phillip Yampolsky, Lokananta: A Discography of the National Recording Company of Indonesia 1957 – 1985 (Centre for Southeast Asian Studies, University of Wisconsin, 1987).
233. The New Grove Dictionary of Musical Instruments, ed. Stanley Sadie (London: Macmillan, 1984).
234. “Cosmological Symbolism in the Design and Morphology of Gamelan in Java”, in Essays in Southeast Asian Performance, ed. Kathy Foley (Berkeley: Centre for South and Southeast Asian Studies, University of California, 1993).
235. Colin Quigley, “The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan”, Pacific Review of Ethnomusicology 3 (1986): 42–62.
236. Ambronicus, “Studi Gerantung Ensembel Gong Pakpak-Dairi” (Sarjana thesis, University of North Sumatra, 1988);
237. Ben Pasaribu, “Thgading Batak Toba: Suatu Kajian dalam Konteks Gondang Sabangunan” (Sarjana thesis, University of North Sumatra, 1986).
238. Martin Hatch, “Lagu, Laras, Layang: Rethinking Melody in Javanese Music” (Ph.D. diss., Cornell University, 1980);
239. Rudiger Schumacher, Die Suluk-Gesdnge des Dalang im Schattenspiel Zentraljavas, 2 vols. (Munich: Emil Katzbichler, 1980);
240. Wim van Zanten, Sundanese Music in the Cianjuran Style: Anthropological and Musicological Aspects of Temhang Sunda (Dordrecht-Holland: Foris, 1989);
241. Rusti Manihuruk, “Kajian Struktur Musik Urdo-urdo: Genre Nyanyian Menidurkan Anak pada Masyarakat Simalungun [Lullabies among the Simalungun]” (Sarjana thesis, University of North Sumatra, 1993);
242. A.L. Becker, “Tfext-building, Epistemology and Aesthetics in Javanese Shadow Theatre”, in The Imagination of Reality, ed. Becker and Yengoyan, pp. 44-211;
243. Terry E. Miller, Traditional Music of the Lao.
244. Stephanie Morgan and Laurie Jo Sears (eds.), Aesthetic Tradition and Cultural Transition in Java and Bali (Madison: Centre for Southeast Asian Studies, University of Wisconsin, 1984), p. 11.
245. Sulaiman Gitosaprodjo, “The Four Principles of Karawitan: Ethics, Esthetics, Norms and Ideals”, in Kara wit an, vol. 1, ed. J. Becker and A. Feinstein.
246. Sumarsam, “The Meaning of Gamelan Performance”, Progress Reports in Ethnomusicoiogy 2-3 (1987-88): 1–11.
247. Kartomi, “Beautiful when Heard from Afar: Mandailing Ideas of Musical Beauty”, in Five Essays on the Indonesian Arts, ed. Kartomi (Clayton: Centre of Southeast Asian Studies, Monash University, 1981), pp. 1–16.
248. Mary Zurbuchen, The Language of Balinese Shadow Theatre.
249. Artur Simon, “Gondang, Gods and Ancestors, Religious Implications of Batak Ceremonial Music”, Yearbook for Traditional Music 25 (1993): 81-88;
250. David Goldsworthy, “Honey Collecting ceremonies on the East Coast of North Sumatra”, Studies in Indonesian Music, ed. Kartomi (Melbourne: Centre of Southeast Asian Studies, Monash University, 1978), pp. 1–44.
251. Ian Mabbett, “Buddhism and Music”, Asian Music 25:1-2 (1993-94): 9–28.
252. Judith Becker, Gamelan Stories: Tantrism, Islam and Aesthetics in Central Java (Tempe, Arizona, Arizona State University, Program for Southeast Asian Studies, 1993).
253. David Hamish, “The Future Meets the Past in the Present”, Asian Music 25:1-2 (1993-94): 29–50.
254. Ashley Turner, “Belian”.
255. Jozef Pacholczyki, “Music and Islam in Indonesia”, The World of Music 3 (1986): 3-11;
256. Kartomi, “Muslim Music in West Sumatran Culture”, The World of Music 28, 3 (1986): 13–32.
257. Muhammad Thkari, “Kesenian Hadrah pada Kebudayaan Etnis Melayu Deli Serdang dan Asahan: Studi Deskriptif Musikal” [The Art of Hadrah in the Malay Deli-Serdang and Asahan Ethnic Groups] (Sarjana thesis, University of North Sumatra, 1990).
258. Kartomi, “Experience-Near and Experience-Distant Perceptions of the Dabuih Ritual in Aceh, Sumatra”; R. Schumacher (ed.), Von der Vielfalt musikalischer Kultur: Festschrift fur Josef Kuckertz zur Vollendung des 60 Lebensjahres (Salzburg: Ursula Miiller-Speiser, 1992), pp. 22-44;
259. Kartomi, “Dabuih in West Sumatra: a synthesis of Muslim and Pre-Muslim Ceremony and Style”, Archipel 41 (1992): 33–52.
260. Kartomi “Thbut: a Shi'a Ritual Transplanted from India to Sumatra”, in Nineteenth and Twentieth Century Indonesia: Essays in Honour of Prof ID, Legge, ed. D. Chandler and M. Ricklefs (Melbourne: Centre of Southeast Asian Studies, Monash University, 1986).
261. Lois al Faruqi, “Qu'ran Reciters in Competition in Kuala Lumpur”, Ethnomusicology 31 (1987): 221 ff.
262. M.G. Nasarudin, “Dance and music of the Desa Performing Arts of Malaysia” (Ph.D. diss., University of Indiana, 1979).
263. Mauly Purba, “Mangido Gondang di dalam Penyajian Musik Gondang Sabangunan pada Masyarakat Batak Toba”, Seni Pertunjukan Indonesia 2-2 (1991): 63–134. S
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