0195141504

9780195141504

0195141490 (pbk.)

9780195141498 (pbk.)

Global music series

The Balinese ceremonial soundscape: simultaneity of soundings

Instruments: materials, tuning, and timbre

Interlocking and layering: musical roles in the ensemble

The world of stories: integration of music, dance, and drama in traditional Balinese theater

Characterization, movement, and gong structures that enliven Balinese theater

Large-scale form in Gong Kebyar and its antecedents

Conclusion: three themes revisited at a cremation ceremony.

1. The Balinese ceremonial soundscape: simultaneity of soundings

Place, time, and circumstance

The act of offering

Thinking in threes: historical periods, degrees of sacredness, and spatial orientation of the performing arts

2. Instruments: materials, tuning, and timbre

The power of bronze

Tuning and timbre

The waves of paired tuning: a gamelan's breath of life

Tuning systems, scales, and notation

Gamelan Gong Kebyar: the explosive twentieth-century style

Instrument families in Gamelan music

3. Interlocking and layering: musical roles in the ensemble

The musical community of a Gamelan Sekaha

The stratified texture of Gamelan: simultaneous melodies

Leadership, cueing, and ensemble interaction

4. The world of stories: integration of music, dance, and drama in traditional Balinese theater

Playing the past in the present

Assumptions and conventions in traditional Balinese theater

Wayang Kulit (Shadow puppet theater)

5. Characterization, movement, and gong structures that enliven Balinese theater

Aesthetics and character types: Halus (refined) and Keras (strong)

Male, female, and androgynous dance styles

Topeng (Masked dance drama)

Legong

Elements of dance and music in Topeng and Legong

Listening to two Topeng pieces

Kecak

6. Large-scale form in Gong Kebyar and its antecedents

"Classical" tripartite form

Listening to an entire piece: the tripartite form in "Sinom Ladrang"

Innovations in form and texture in Kebyar Kreasi Baru (new creations)

7. Conclusion: three themes revisited at a cremation ceremony.

CD Track List

1. Night sounds

2. Gamelan gong playing a temple piece with priest's and congregation chanting in distance

3. Gamelan gong playing the gineman (introductory section) of the lalambatan (slow temple piece) "Jagul" (I Dewa Alit, trompong, Sanggar Çudamani)

4. Gamelan gong playing the pangawak (main body) of the lalambatan (temple piece) "Jagul" (I Dewa Alit, trompoing, Sanggar Çudamani)

5. Gamenlan gender wayang in wayang lemah (daytime ceremonial shadow play) performance during a ceremony (Gender wayang performers from Kayu Mas, Badung, Denpasar, include I Wayan Konolan and I Wayan Sujana; dalang [shadow master] Ida Bagus Ngurah Buduk)

6. "Topeng Keras" (accompanies a strong topeng characer)

7. "Topeng Arsa Wijaya" (accompanies a refined character)

8. Gamelan gambuh: gineman and dramatic excerpt illustrating stylized speech (Batuan Gambuh ensemble, vital records 501, track 1, "Batel" selisir mode, with permission)

9. Gamelan balaganjur playing a processional gilak piece

10. Gamelan balaganjur playing a kreasi (new creation) for procession (Sanggar Çudamani)

11. Gamelan gong kebyar "Java Semara" complete version (Sanggar Çudamani)

12. Gamelan jegog Werdi Sentana, "Jegog. Bamboo Gamelan of Bali"

13. The "wave" of paired tuning

14. Three pentatonic scales in the pelog tuning system

15. Listening to the gongs

16. "Java Semara" demonstration, building up layers; structural framework of gongs; low instruments; ugal; gangsas and reyong

17. Drums: syllables spoken by I Dewa Putu Berata, then a pattern played on two interlocking drums

18. Gangsa kotekan norot (single-note interlocking)

19. Gangsa kotekan nyong-cag (leaping interlocking)

20. Pangecet (final) section of the piece "Java Semara," alternating between two types of gangsa interlocking

21. Kotekan telu from the piece "Jauk Manis"

22. Same kotekan as in track 21, played at a faster tempo

23. Same kotekan with full gamelan

24. Expansion and contraction of a kotekan empat (4) pattern, from the piece "Teruna Jaya"

25. Ocak-ocakan reyong alone ("Teruna Jaya," Sanggar Çudamani)

26. Same excerpt with full ensemble ("Teruna Jaya," Vital records, 401 with permission)

27. Reyong syncopated interlocking patterns from "Topeng Keras"

28. Reyong norot interlocking from pangecet "Jaya Semara"

29. Gineman and beginning of "Sekar Sungsang," a "sitting piece" named after a kind of flower, played on gender wayang

30. Batel (a colotomic meter used for action scenes)

31. Omang Barong (a colotomic meter used in Barong dance drama)

32. Bapang (a colotomic meter)

33. Gabor Longgor (a colotomic meter, here used in "Jauk Manis")

34. Gilak (a colotomic meter used for processions and "Topeng Keras")

35. "Topeng Keras," layering demonstration

36. Kecak, the "Monkey chant," a sequence of forms and melodies

37. Kecak, a 16-beat melody

38. "Sinom Ladrang" playing by Sanggar Çudamani

39. "Jagra Parwata" (The awakening of the mountain), Kreasi Baru for Gong Kebyar by I Nyoman Windha

40. "Pengastukara" [We give blessing], a new composition for gamelan semarandana, composed by I Dewa Ketutu Alit, performed by Sanggar Çudamani

41. Gamelan angklung: two excerpts of a field recording from a melaspas cermeony inaugurating a house temple in Pengosekan, Gianyar; kidung chanting is heard in the background.

Music > Indonesia > Bali Island > History and criticism.

Balinese (Indonesian people) > Social life and customs.

Music > Indonesia > Bali Island.