Periplus Eds. (HK) Limited, 1998 - 143 páginas
A tight interaction of melodic, rhythmic and textural components sustains the powerful orchestral gamelan music of Bali. The building blocks of the music share many traits with the larger social organization of Balinese villages, which provide a compelling setting for music that is an integral part of daily life. The primary function of music in Bali is to accompany ritual activity, but it is performed in many recreational contexts also. The instruments, most often made from bronze or bamboo, are organized into ensembles and tuned according to a set of flexibly interpreted standards. Villages may maintain one or several types of gamelan and use each for a ritually predetermined set of occasions. Music is composed, memorized, and rehearsed at the village meeting hall.
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arts Bali Balinese gamelan Balinese music Balinese musicians bamboo banjar Baris beleganjur bronze calungs cengceng ceremonies choreographies Colin McPhee colotomic structure composed compositions conservatories core melody culture dag dag dag dancer dang deng Denpasar ding dong drummer drums dug dug dug dug dug ensemble Festival Gong gamelan angklung gamelan gambang gamelan gambuh gamelan gong kebyar gamelan joged gamelan music Gamelan Semar Pegulingan gangsas gender wayang gilak Indonesia instruments interlocking Java Javanese jegogans kempli beat kempur kendang Ketut keys KICC kidung kotekan lanang large gong legong lelambatan mallets music and dance neng ning nong nong Nyoman º º octave pair patterns pelegongan Peliatan pelog pemades performance pieces play players polos and sangsih rebab rehearsal repertoire reyong rhythms ritual sacred sekaha singing sound strokes STSI style suling syllables tabuh tari lepas teacher Tembres temple tingklik tones traditional trompong tuning Ubud ugal village wadon Wayan Windha