As a mainstream Buddhist country since 300 BC Sri Lankan clergy did for a long time period not permit string instruments as Buddhist sources said listening or playing vina (lute) may cause rebirth and hinder the way to ...
This paper is dedicated to physically moving and emotionally moved singers who combine non-vocal embodiments as an essential content of what their singing conveys. The terms “movement of singers” and the “singers being ...
In January and February 2014, the authors went on a fieldtrip to Sumatra’s West Coast with Padang as its centre aiming at discovering and analysing traces of Indian music practices within modern Sumatran society. This ...
Meddegoda, Chinthaka Prageeth(Studia Instrumentorum Musicae Popularis (New Series) VI. Ed. by Gisa Jähnichen. Berlin: Logos, 189-206., 2019)
The Sri Lankan version of the double-reed oboe, the horanawa, has been and is still important to Sinhala Buddhists since it symbolizes “spiritualty” and “locality” in the Sri Lankan cultural context. Usually, the Buddhist ...
Meddegoda, Chinthaka Prageeth(International Council for Traditional Music (ICTM) Colloquium, 2019)
The horanawa is the Sri Lankan version of the double-reed instrument, which can be
found in other cultures with similar shapes and playing techniques under different
names. The horanawa has been important especially to ...
Meddegoda, Chinthaka Prageeth(Journal of Urban Culture Research, 20: 44-53, 2020)
This paper is to analyze different cases from the Malay world, Sri Lanka, and
Myanmar with historical methods as well as from the perspective of current musical practice. Constructions of historical awareness and some ...