- Collection:
- Global music series
- Auteur / Interpréte:
- Gold, Lisa
- Données d'édition:
- Oxford University Press Inc.; New York; 2005
- Sujets:
- HERRI MUSIKA
MUSIKA IDATZIA
SOINU-TRESNA
- Emplacement:
- XIV / 5
- Remarques:
- Liburu honek berekin CD bat du
- Contenu:
- Contents
Foreword....xiii
Preface....xv
CD Track List....xxi
1. The Balinese Ceremonial Soundscape: Simultaneity of soundings........1
Place, Time, and Circumstance........6
The Act of Offering........6
Odalan (Temple Ceremonies) and Ramé (Full, Boisterous, Active)........7
Spatial Orientation........9
Cycles of Time........12
Large-Scale Time: Stories and History........13
Cultural Tourism........15
Thinking in Threes: Historical Periods, Degrees of Sacredness, and Spatial Orientation of the
Performing Arts........17
The all-Encompassinf Adat (Tradition)........17
In the Sacred Space of the Inner Courtyard (Jeroan): Old-Period Genres as Offerings........21
In the Ceremonial Space of the Middle Courtyard (Jaba Tengah): Middle-Period Genres.......24
The More Secular Space of the Outer Courtyard (Jaba): New creations and Entertainment........26
Conclusion........26
2. Instruments: Materials, Tuning, and Timbre........28
The Power of Bronze........29
Tuning and Timbre........31
The Waves of Paired Tuning: A Gamelan's Breath of life........32
Tuning Systems, Scales, and Notation........33
Gamelan Gong Kebyar: The Explosive Twentieth.Century Style........36
Instrument Families in Gamelan Music........37
The Gongs........40
Cycles of Time in Music: Gongs that Mark Colotomic Mters........42
Keyed Instruments (Metallophones)........43
Gender-Type Metallophones........44
The Low Metallophone Instruments........44
The Gangsa Family
Gong-Chimes........46
Reyong........46
Trompong........46
Other Layers of Melody........47
Drums: Aural Conductor of the Ensemble........48
Cymbals (Ceng-Ceng)........50
Conclusion........51
3. Interlocking and Layering: Musical Roles in the Ensemble........52
The musical Community of a Gamelan Sekaha........54
The Stratified Texture of Gamelan: Simultaneous Melodies........55
The Pokok (Basic Melody)........56
Communal Elaboration: Interlocking Parts (Kotekan)........58
Gangsa Kotekan:Polos and Sangsi........59
Single-Note Kotekan........59
Syncopated Patterning Kotekan........62
Expansion and Contraction of a Kotekan Pattern........64
Reyong Figuration: Melodic Interlocking and Percussive Accentuation........64
Comparison of Reyong and Trompong........67
Leadership, Cueing, and Ensemble Interaction........67
Gaya (Charismatic Gesture)........67
Conclusion:Putting the Layers Together........69
4. The World of Stories: Integration of Music, Dance, and Drama in Traditional Balinese
Theater........71
Playing the past in the present........72
Genres in the Old Cathegory: Sacred Ensembles........72
Genres in the Middle Category: The Hindu Javanese Legacy........74
Genres in the New Category: Drawing from Middle and Old and Breaking Free........76
The Idea of Completeness: Revisiting Ramé........76
Assumptions and Conventions in Tradicional Balinese Theater........78
The Concept of a 'Story': Orality and Literacy in Performance........78
The Panji Cycle........79
Levels of Abstraction and Accessibility........79
The Role of Interpreters........80
Genres of Theater........81
Wayang Kulit (Shadow Puppet Theater)........83
The Dalang........86
The Progression of a Performance........88
Taksu: Divine Inspiration and 'Shifting Focal Points'........90
Conclusion........91
5. Characterization, Movement, and Gong Structures That Enliven Balinese Theater........93
Aesthetics and Character Types: Halus (Refined) and Keras (Strong)........93
Male, Female, and Androgynous Dance Styles........95
Topeng (Masked Dance Drama)........95
Progression of a Topeng Play........96
Free Choreography........99
Legong........99
Free versus Fixed Choreography........100
Elements of Dance and Music in Topeng and Legong........101
Agem........101
Angsel: Dance and Music Articulation........106
Colotomic Meters Delineating theatrical Situation and Mood........108
Batel........111
Omang........112
Bapang........112
Gabor Longgor........113
Gilak........113
Gamelan Balaganjur........114
Listening to two Topeng Pieces........115
Kecak........120
Conclusion........125
6. Large-Scale Form in Gong Kebyar and Its Antecedents........126
'Classical' Tripartite Form........126
Three Contrasting Movements........127
Gineman: Metrically Free Preludes........127
Listening to an Entire Piece: the Tripartite Form in 'Sinom Ladrang'........128
Innovations in Form an Texture in Kebyar Kreasi Baru (New Creations)........136
Form in Kebyar: Cyclicity and Linearity........136
New Textures........137
Kebyar Passages: A Display of Gaya........138
Kebyar-style Gineman: Gegenderan........139
'Jaya Semara' ('Victorious Divine Love/ Love Deity')........139
Transformation of Form and Other Innovations........141
Gong Kebyar Competitions at the Bali Arts Festival........141
Kreasi Baru trends at the Dawn of the Twenty-first Century........145
Kontemporer........146
Conclusion:Traditional Arts in a Rapidly Changing World........147
Arts Workshop/ Studio Collectives (Sanggar)........147
7. Conclusion: Three Themes Revisited at a Cremation Ceremony........151
Glossary........156
References........162
Resources........165
Index........169
- ISBN:
- ISBN: 0-19-514590-9; ISBN: 0-19-514591-7 (pbk)
- Mesures:
- 21; 14
