Music in Bali Experiencing Music, Expressing Culture Includes CD

by Gold, Lisa

• ISBN13: 9780195141498
• ISBN10: 0195141490
• Format: Paperback w/CD
• Copyright: 2004-10-28
• Publisher: Oxford University Press

Summary

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

Foreword	p. xiii
Preface	p. xv
CD Track List	p. xxi
The Balinese Ceremonial Soundscape: Simultaneity of Soundings	p. 1
Place, Time, and Circumstance	p. 6
The Act of Offering	p. 6
Odalan (Temple Ceremonies) and Rame (Full, Boisterous, Active)	p. 7
Spatial Orientation	p. 9
Cycles of Time	p. 12
Large-Scale Time: Stories and History	p. 13
Cultural Tourism	p. 15
Thinking in Threes: Historical Periods, Degrees of Sacredness, and Spatial Orientation of the Performing Arts	p. 17
The All-Encompassing Adat (Tradition)	p. 17
In the Sacred Space of the Inner Courtyard (Jeroan): Old-Period Genres as Offerings	p. 21
In the Ceremonial Space of the Middle Courtyard (Jaba Tengah): Middle-Period Genres	p. 24
The More Secular Space of the Outer Courtyard (Jaba): New Creations and Entertainment	p. 26
Conclusion	p. 26
Instruments: Materials, Tuning, and Timbre	p. 28
The Power of Bronze	p. 29
Tuning and Timbre	p. 31
The Waves of Paired Tuning: A Gamelan's Breath of Life	p. 32
Tuning Systems, Scales, and Notation	p. 33
Gamelan Gong Kebyar: The Explosive Twentieth-Century Style	p. 36
Instrument Families in Gamelan Music	p. 37
The Gongs	p. 40
Cycles of Time in Music: Gongs that Mark Colotomic Meters	p. 42
Keyed Instruments (Metallophones)	p. 43
Gender-Type Metallophones	p. 44
The Low Metallophone Instruments	p. 44
The Gangsa Family	p. 45
Gong-Chimes	p. 46
Reyong	p. 46
Trompong	p. 46
Other Layers of Melody	p. 47
Drums: Aural Conductor of the Ensemble	p. 48
Cymbals (Ceng-Ceng)	p. 50
Conclusion	p. 51
Interlocking and Layering: Musical Roles in the Ensemble	p. 52
The Musical Community of a Gamelan Sekaha	p. 54
The Stratified Texture of Gamelan: Simultaneous Melodies	p. 55
The Pokok (Basic Melody)	p. 56
Communal Elaboration: Interlocking Parts (Kotekan)	p. 58
Gangsa Kotekan: Polos and Sangsih	p. 59
Single-Note Kotekan	p. 59
Syncopated Patterning Kotekan	p. 62
Expansion and Contraction of a Kotekan Pattern	p. 64
Reyong Figuration: Melodic Interlocking and Percussive Accentuation	p. 64
Comparison of Reyong and Trompong	p. 67
Leadership, Cueing, and Ensemble Interaction	p. 67
Gaya (Charismatic Gesture)	p. 67
Conclusion: Putting the Layers Together	p. 69
The World of Stories: Integration of Music, Dance, and Drama in Traditional Balinese Theater	p. 71
Playing the Past in the Present	p. 72
Genres in the Old Category: Sacred Ensembles	p. 72
Genres in the Middle Category: The Hindu Javanese Legacy	p. 74
Genres in the New Category: Drawing from Middle and Old and Breaking Free	p. 76
The Idea of Completeness: Revisiting Rame	p. 76
Assumptions and Conventions in Traditional Balinese Theater	p. 78
The Concept of a "Story": Orality and Literacy in Performance	p. 78
The Panji Cycle	p. 79
Levels of Abstraction and Accessibility	p. 79
The Role of Interpreters	p. 80
Genres of Theater	p. 81
Wayang Kulit (Shadow Puppet Theater)	p. 83
The Dalang	p. 86
The Progression of a Performance	p. 88
Taksu: Divine Inspiration and "Shifting Focal Points"	p. 90
Conclusion	p. 91
Characterization, Movement, and Gong Structures That Enliven Balinese Theater	p. 93
Aesthetics and Character Types: Halus (Refined) and Keras (Strong)	p. 93
Male, Female, and Androgynous Dance Styles	p. 95
Topeng (Masked Dance Drama)	p. 95
The Characters	p. 95
Progression of a Topeng Play	p. 96
Free Choreography	p. 99
Legong	p. 99
Free versus Fixed Choreography	p. 100
Elements of Dance and Music in Topeng and Legong	p. 101
Vocabulary of Movements	p. 101
Agem	p. 101
Angsel: Dance and Music Articulation	p. 106
Colotomic Meters Delineating Theatrical Situation and Mood	p. 108
Batel	p. 111
Omang	p. 112
Bapang	p. 112
Gabor Longgor	p. 113
Gilak	p. 113
Gamelan Balaganjur	p. 114
Listening to Two Topeng Pieces	p. 115
Kecak	p. 120
Conclusion	p. 125
Large-Scale Form in Gong Kebyar and Its Antecedents	p. 126
"Classical" Tripartite Form	p. 126
Three Contrasting Movements	p. 127
Gineman: Metrically Free Preludes	p. 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 Linearity	p. 136
New Textures	p. 137
Kebyar Passages: A Display of Gaya	p. 138
Kebyar-style Gineman: Gegenderan	p. 139
"Jaya Semara" ("Victorious Divine Love/Love Deity")	p. 139
Transformation of Form and Other Innovations	p. 141
Gong Kebyar Competitions at the Bali Arts Festival	p. 141
Kreasi Baru Trends at the Dawn of the Twenty-first Century	p. 145
Kontemporer	p. 146
Conclusion: Traditional Arts in a Rapidly Changing World	p. 147
Arts Workshop/Studio Collectives (Sanggar)	p. 147
Conclusion: Three Themes Revisited at a Cremation Ceremony	p. 151
Glossary	p. 156
References	p. 162
Resources	p. 165
Index	p. 169
Table of Contents provided by Ingram. All Rights Reserved.