{"id":16,"date":"2014-09-22T18:44:08","date_gmt":"2014-09-22T09:44:08","guid":{"rendered":"http:\/\/publisher.the-concrete.org\/?p=16"},"modified":"2018-03-17T15:42:55","modified_gmt":"2018-03-17T06:42:55","slug":"endahlaras","status":"publish","type":"post","link":"https:\/\/www.the-concrete.org\/en\/publication\/endahlaras\/","title":{"rendered":"Endah Laras [Surakarta, Indonesia]"},"content":{"rendered":"<p><\/p>\n<p><p>A pioneer of Japanese Sound Design, Yasuhiro Morinaga\u2019s field recording series has just launched the first edition! This first edition is featuring one of the most astonishing Indonesian singers, Endah Laras, who has been known for Javanese traiditional art like Wayang Kuri. The recording was conduced at the open-air studio, owned by Endah\u2019s father who was regarded as one of the maestro of Javanese Wayang Kuri. The location has rich sonic environment and enriches natural resonance. Through her astonishing voice with different music instruments, such as ukulele and guitalele and other traditional Javanese instruments like gender and Javanese sitar, The music in itself beings us the feeling of Kroncong and Folk. Although we all know that Indonesia has strong tradition in gamelan music or ritual ceremonies, this recording work should be treated as a new music of modern Indonesian sound.<\/p>\n<\/p>\n<p><\/p>","protected":false},"excerpt":{"rendered":"<p>A pioneer of Japanese Sound Design, Yasuhiro Morinaga\u2019s field recording series has just launched the first edition! This first edition is featuring one of the most astonishing Indonesian singers, Endah Laras, who has been known for Javanese traiditional art like Wayang Kuri. The recording was conduced at the open-air studio, owned by Endah\u2019s father who was regarded as one of the maestro of Javanese Wayang Kuri. The location has rich sonic environment and enriches natural resonance. Through her astonishing voice with different music instruments, such as ukulele and guitalele and other traditional Javanese instruments like gender and Javanese sitar, The music in itself beings us the feeling of Kroncong and [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[23,2],"tags":[3],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/16"}],"collection":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/comments?post=16"}],"version-history":[{"count":26,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/16\/revisions"}],"predecessor-version":[{"id":2156,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/16\/revisions\/2156"}],"wp:attachment":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/media?parent=16"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/categories?post=16"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/tags?post=16"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}