Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese MusicUniversity of Chicago Press, 2000 - 492 páginas The Balinese gamelan, with its shimmering tones, breathless pace, and compelling musical language, has long captivated musicians, composers, artists, and travelers. Here, Michael Tenzer offers a comprehensive and durable study of this sophisticated musical tradition, focusing on the preeminent twentieth-century genre, gamelan gong kebyar. Combining the tools of the anthropologist, composer, music theorist, and performer, Tenzer moves fluidly between ethnography and technical discussions of musical composition and structure. In an approach as intricate as one might expect in studies of Western classical music, Tenzer's rigorous application of music theory and analysis to a non-Western orchestral genre is wholly original. Illustrated throughout, the book also includes nearly 100 pages of musical transcription (in Western notation) that correlate with 55 separate tracks compiled on two accompanying compact discs. The most ambitious work on gamelan since Colin McPhee's classic Music in Bali, this book will interest musicians of all kinds and anyone interested in the art and culture of Southeast Asia, Indonesia, and Bali. |
Índice
Introduction Encountering Kebyar | 3 |
Learning Kebyar | 6 |
Composition Theory and Ethnomusicology | 9 |
Overview | 15 |
Kebyar Orchestral Resources | 21 |
Kebyar Timbre and the Outside of the Sound | 25 |
Scale Saih and Tuning Laras | 27 |
Cosmology Aesthetics and a Spatial Model for Scale Tones | 33 |
Analytical Commentary on 128 and 256beat MelodiesAbstract Topics | 199 |
Payasan | 206 |
Noninterlocking Parts | 209 |
Interlocking Parts | 212 |
Kotekan Categories and Analytical Preliminaries | 213 |
Analysis of Symmetrical Kotekan Patterns | 215 |
Asymmetrical Melody and Elaboration | 231 |
Kinds of Tuabased Asymmetry in Kebyar | 234 |
A ThreeDimensional Model of Kebyar Pitch Space | 38 |
Instrumentation | 40 |
Instrument Classification and Textural Strata | 51 |
Vertical Relationships between and within Strata | 54 |
Orchestration in Practice | 60 |
The Social Construction of Kebyar Ensemble Virtuosity | 71 |
The Geocultural Roots of Balinese Music | 73 |
Balinese Collectivity and the Sekaha | 76 |
The Birth of Kebyar | 86 |
Kebyar up to Independence | 90 |
Kebyar after Independence | 93 |
The Sekaha in the New Order | 96 |
One Groups Narrative | 108 |
Multidimensionality and Collectivity in Kebyar | 113 |
Contexts for Kebyar Theory | 115 |
McPhees Contributions | 116 |
1940 to the Present | 121 |
The Recent History of Music Theory in Java and Bali | 124 |
Javanese Counterparts for Balinese Music Concepts | 127 |
Issues for Kebyar Music Theory | 132 |
Analytical Approaches to Kebyar and the Music of the European Classic Period | 133 |
A Preliminary Analysis | 138 |
History Repertoire Topic and Structure | 145 |
Historical Periods and Gamelan Genres | 147 |
Scanning the Repertoire | 153 |
Composition Types and Theatrical Forms | 155 |
Topic Classes | 163 |
From Topic Class to Structural Class | 168 |
Structural Classes | 171 |
Inside Melodies | 174 |
Melody and Figuration | 183 |
Analytical Conventions and Preliminaries | 184 |
Analytical Commentary on 4 8 and 16beat MelodiesCharacter Topic Sources | 189 |
Analytical Commentary on 32 and 64beat Melodies | 194 |
Asymmetry in Tua Compositions | 236 |
Asymmetry and Vocal Traditions | 246 |
Meter and Drumming | 249 |
Chapter Overview | 251 |
Drum Pattern and Balinese Meter | 254 |
Drum Styles the Vocabulary of Drum Strokes and Their Syntax and Structure | 261 |
Pattern Identity and Quality | 269 |
Stable and Active Patterns and the Impact of Drumming on Form | 274 |
Drumming and Dance Movement | 281 |
Drum Improvisation and Kendang Tunggal | 288 |
Conclusion | 304 |
Form and Composition | 305 |
Kebyar Composers | 306 |
Chapter Overview | 310 |
Elements Contexts and ElementProgressions | 326 |
Balinese Categories of Musical Form | 354 |
Inside Gending Looking Out | 372 |
Form and Composition | 384 |
Fantasy on Wilet Mayura | 387 |
Background and Reception | 389 |
The Text and Singing | 391 |
Locating Innovation and Expression | 395 |
Balinese and Western Temporalities in Context | 415 |
Wilet Mayura in CrossCultural Perspective | 419 |
Playing in All Registers | 431 |
Epilogue Kebyar and Ideas of New Music | 433 |
Sekar Gendot arr Wayan Lotring | 442 |
Kendangan tabuh telu pelegongan with neliti of pengawak legong Lasem | 444 |
Glossary of Frequently Used Terms | 449 |
Contents of the CDS | 456 |
461 | |
471 | |
Otras ediciones - Ver todo
Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music Michael Tenzer No hay ninguna vista previa disponible - 2000 |
Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music Michael Tenzer No hay ninguna vista previa disponible - 2000 |
Términos y frases comunes
angklung angsel asymmetrical Bali Balinese music balungan banjar bapang beats Beratha calung CC-group cengceng colotomic composers composition context court cultural cycle cyclic dance dancers dang deng Denpasar ding dong drum patterns drummers dung dynamic elaboration ensemble Figure gambang gambuh gamelan gambang gamelan gambuh gandrung gangsa gender wayang gending genres gilak gineman gong gdé gong kebyar gong tone gongan Indonesian instruments interlocking Java Javanese Jaya jegogan kantilan kawitan kempli kempur kempyung kendang kidung kotekan lanang wadon legong lelambatan Madé majalan McPhee melody metacycles metallophones meter metric midpoint musicians neliti ngubeng norot nyog cag octave orchestral payasan pegambuhan pegongan pelegongan pélog pengawak pengecet pengisep performance played pokok repertoire reyong rhythm rhythmic ritual scale tones scale-tone sekaha Sekar Sinti slendro sound strata stress strokes structure STSI style subpattern Sumarsam Suweca tabuh kreasi tabuh telu telu tempo texture tion tonal topic trompong tuned ubit-ubitan ugal village Wayan Western Wilet Mayura