Music in Bali Experiencing Music, Expressing Culture Includes CD

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  • Format: Paperback w/CD
  • Copyright: 2004-10-28
  • Publisher: Oxford University Press

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Supplemental Materials

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Music in Bali is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. Itsets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic fora list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. Music in Bali introduces the ensemble tradition of Balinese music, reflecting cooperative aspects of the island's social organization. Drawing on many years of study with Balinese performers in the United States and extensive fieldwork in Bali, author Lisa Gold presents contemporary Balineseperformance within its cultural and historical context, linking Bali's rich past to its current role in modern, globalized society. She illustrates how new compositions borrow material from earlier traditions while also allowing for individual expression and innovation in vibrant present-dayculture. By describing various performances--from a temple ceremony, to a shadow puppet performance, to a masked dance drama--Music in Bali surveys a wide range of performance contexts, from the highly sacred to the secular. It looks at the interconnected layers of the Balinese musical tradition,showing how the island's music, dance, theater, and ritual are intertwined. Music in Bali is enhanced by eyewitness accounts of local performances, interviews with key performers, and vivid illustrations. Packaged with a 70-minute CD containing examples of the music discussed in the book, it features guided listening and hands-on activities that encourage readers toengage actively and critically with the music.

Author Biography

Lisa Gold is a Visiting Professor of Ethnomusicology and Balinese music at Colorado College and a Lecturer in Ethnomusicology and Gamelan at the University of California, Berkeley, and Mills College

Table of Contents

Forewordp. xiii
Prefacep. xv
CD Track Listp. xxi
The Balinese Ceremonial Soundscape: Simultaneity of Soundingsp. 1
Place, Time, and Circumstancep. 6
The Act of Offeringp. 6
Odalan (Temple Ceremonies) and Rame (Full, Boisterous, Active)p. 7
Spatial Orientationp. 9
Cycles of Timep. 12
Large-Scale Time: Stories and Historyp. 13
Cultural Tourismp. 15
Thinking in Threes: Historical Periods, Degrees of Sacredness, and Spatial Orientation of the Performing Artsp. 17
The All-Encompassing Adat (Tradition)p. 17
In the Sacred Space of the Inner Courtyard (Jeroan): Old-Period Genres as Offeringsp. 21
In the Ceremonial Space of the Middle Courtyard (Jaba Tengah): Middle-Period Genresp. 24
The More Secular Space of the Outer Courtyard (Jaba): New Creations and Entertainmentp. 26
Conclusionp. 26
Instruments: Materials, Tuning, and Timbrep. 28
The Power of Bronzep. 29
Tuning and Timbrep. 31
The Waves of Paired Tuning: A Gamelan's Breath of Lifep. 32
Tuning Systems, Scales, and Notationp. 33
Gamelan Gong Kebyar: The Explosive Twentieth-Century Stylep. 36
Instrument Families in Gamelan Musicp. 37
The Gongsp. 40
Cycles of Time in Music: Gongs that Mark Colotomic Metersp. 42
Keyed Instruments (Metallophones)p. 43
Gender-Type Metallophonesp. 44
The Low Metallophone Instrumentsp. 44
The Gangsa Familyp. 45
Gong-Chimesp. 46
Reyongp. 46
Trompongp. 46
Other Layers of Melodyp. 47
Drums: Aural Conductor of the Ensemblep. 48
Cymbals (Ceng-Ceng)p. 50
Conclusionp. 51
Interlocking and Layering: Musical Roles in the Ensemblep. 52
The Musical Community of a Gamelan Sekahap. 54
The Stratified Texture of Gamelan: Simultaneous Melodiesp. 55
The Pokok (Basic Melody)p. 56
Communal Elaboration: Interlocking Parts (Kotekan)p. 58
Gangsa Kotekan: Polos and Sangsihp. 59
Single-Note Kotekanp. 59
Syncopated Patterning Kotekanp. 62
Expansion and Contraction of a Kotekan Patternp. 64
Reyong Figuration: Melodic Interlocking and Percussive Accentuationp. 64
Comparison of Reyong and Trompongp. 67
Leadership, Cueing, and Ensemble Interactionp. 67
Gaya (Charismatic Gesture)p. 67
Conclusion: Putting the Layers Togetherp. 69
The World of Stories: Integration of Music, Dance, and Drama in Traditional Balinese Theaterp. 71
Playing the Past in the Presentp. 72
Genres in the Old Category: Sacred Ensemblesp. 72
Genres in the Middle Category: The Hindu Javanese Legacyp. 74
Genres in the New Category: Drawing from Middle and Old and Breaking Freep. 76
The Idea of Completeness: Revisiting Ramep. 76
Assumptions and Conventions in Traditional Balinese Theaterp. 78
The Concept of a "Story": Orality and Literacy in Performancep. 78
The Panji Cyclep. 79
Levels of Abstraction and Accessibilityp. 79
The Role of Interpretersp. 80
Genres of Theaterp. 81
Wayang Kulit (Shadow Puppet Theater)p. 83
The Dalangp. 86
The Progression of a Performancep. 88
Taksu: Divine Inspiration and "Shifting Focal Points"p. 90
Conclusionp. 91
Characterization, Movement, and Gong Structures That Enliven Balinese Theaterp. 93
Aesthetics and Character Types: Halus (Refined) and Keras (Strong)p. 93
Male, Female, and Androgynous Dance Stylesp. 95
Topeng (Masked Dance Drama)p. 95
The Charactersp. 95
Progression of a Topeng Playp. 96
Free Choreographyp. 99
Legongp. 99
Free versus Fixed Choreographyp. 100
Elements of Dance and Music in Topeng and Legongp. 101
Vocabulary of Movementsp. 101
Agemp. 101
Angsel: Dance and Music Articulationp. 106
Colotomic Meters Delineating Theatrical Situation and Moodp. 108
Batelp. 111
Omangp. 112
Bapangp. 112
Gabor Longgorp. 113
Gilakp. 113
Gamelan Balaganjurp. 114
Listening to Two Topeng Piecesp. 115
Kecakp. 120
Conclusionp. 125
Large-Scale Form in Gong Kebyar and Its Antecedentsp. 126
"Classical" Tripartite Formp. 126
Three Contrasting Movementsp. 127
Gineman: Metrically Free Preludesp. 127
Listening to an Entire Piece: The Tripartite Form in "Sinom Ladrang"p. 128
Innovations in Form and Texture in Kebyar Kreasi Baru (New Creations)p. 136
Form in Kebyar: Cyclicity and Linearityp. 136
New Texturesp. 137
Kebyar Passages: A Display of Gayap. 138
Kebyar-style Gineman: Gegenderanp. 139
"Jaya Semara" ("Victorious Divine Love/Love Deity")p. 139
Transformation of Form and Other Innovationsp. 141
Gong Kebyar Competitions at the Bali Arts Festivalp. 141
Kreasi Baru Trends at the Dawn of the Twenty-first Centuryp. 145
Kontemporerp. 146
Conclusion: Traditional Arts in a Rapidly Changing Worldp. 147
Arts Workshop/Studio Collectives (Sanggar)p. 147
Conclusion: Three Themes Revisited at a Cremation Ceremonyp. 151
Glossaryp. 156
Referencesp. 162
Resourcesp. 165
Indexp. 169
Table of Contents provided by Ingram. All Rights Reserved.

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