<\/p>\n
The second edition of \u201cField Recording Series\u201d by Yasuhiro Moringa has released. This edition features Jawa\u2019s charismatic performer, Slamet Gundono.
\nSlamet Gundono is a charismatic performer, musician, puppet shadow master. With his particular ironic sense of humor through the appreciation of traditional Indonesian culture, the unique style of his music and narration have been appreciated by local Indonesians. By his considerable influences, He received a prestigious award, Prince Clause Award in 2005. <\/p>\n
Sound designer & Music director, Yasuhiro Morinaga met with Slamet Gundono during the production of contemporary dance performance (choreography by Akiko Kitamura) in 2011. Throughout the number of discussions and communications, both Morinaga and Slamet agreed to work collaboratively in producing new recording album. With two microphones, Morinaga captured Slamet\u2019s dynamic voice and instruments and other Indonesian local instruments such as gender or kendang etc. Because of his improvisational music style, the recording has never been replaced or re-recorded. And Morinaga decided not to edit anything during the process of post production process (certain bypass filtering and equalization during the mastering process) to enhance the real sonic environment around him and his musicians.<\/p>\n<\/p>\n
<\/p>","protected":false},"excerpt":{"rendered":"
The second edition of \u201cField Recording Series\u201d by Yasuhiro Moringa has released. This edition features Jawa\u2019s charismatic performer, Slamet Gundono. Slamet Gundono is a charismatic performer, musician, puppet shadow master. With his particular ironic sense of humor through the appreciation of traditional Indonesian culture, the unique style of his music and narration have been appreciated by local Indonesians. By his considerable influences, He received a prestigious award, Prince Clause Award in 2005. Sound designer & Music director, Yasuhiro Morinaga met with Slamet Gundono during the production of contemporary dance performance (choreography by Akiko Kitamura) in 2011. Throughout the number of discussions and communications, both Morinaga and Slamet agreed to work […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","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\/52"}],"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=52"}],"version-history":[{"count":19,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/52\/revisions"}],"predecessor-version":[{"id":2157,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/52\/revisions\/2157"}],"wp:attachment":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/media?parent=52"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/categories?post=52"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/tags?post=52"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}