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Focus: Gamelan Music of Indonesia
Focus: Gamelan Music of Indonesia, Third Edition, introduces the emblematic music of Southeast Asia’s largest country, as sound and as cultural phenomenon, highlighting the significant role gamelan music plays in the national culture while teaching of Indonesian values and modern-day life. Despite Indonesia’s great diversity—a melting pot of indigenous, Hindu, Buddhist, Islamic, Portuguese, Dutch, British, and modern global influences—a forged national identity is at its core. This volume explores that identity, understanding present-day Javanese, Balinese, Cirebonese, and Sundanese gamelan music through ethnic, social, cultural, and global perspectives. New to the third edition: Updated content throughout to reflect current Indonesian history and geography, as well as revivals of gamelan ensembles by the Cirebonese courts Modern examples of Indonesian musics, along with new uses of gamelan and other traditional musics An examination of school gamelan and ISBI as a center of innovation Expanded discussion on dangdut and its current status in Indonesia, along with Islam’s effect on dangdut Listening examples now posted as online eResources
Traditions of Gamelan Music in Java
This book is a wide-ranging study of the varieties of gamelan music in contemporary Java seen from a regional perspective. While the focus of most studies of Javanese music has been limited to the court-derived music of Surakarta and Yogyakarta, Sutton goes beyond them to consider also gamelan music of Banyumas, Semarang and east Java as separate regional traditions with distinctive repertoires, styles and techniques of performance and conceptions about music. Sutton's description of these traditions, illustrated with numerous musical examples in Javanese cipher notation, is based on extensive field experience in these areas and is informed by the criteria that Javanese musicians judge to be most important in distinguishing them.
Balinese Music
This book presents an introduction to more than a dozen different types of Balinese gamelan, each with its own established tradition, repertoire and social or religious context. The instruments and basic principles underlying the gamelan are introduced, thus providing listeners with the means to better appreciate the music. Scores of beautiful color photographs, a discography, and a brief guide to studying and hearing the music in Bali, will prove indispensible to visitors and gamelan afficionados around the world.
Knowing Music, Making Music
Using illustrative examples from a variety of traditions, Benjamin Brinner first examines the elements and characteristics of musical competence, the different kinds of competence in a musical community, the development of multiple competences, and the acquisition and transformation of competence through time. He then shows how these factors come into play in musical interaction, establishing four intersecting theoretical perspectives based on ensemble roles, systems of communication, sound structures, and individual motivations. These perspectives are applied to the dynamics of gamelan performance to explain the social, musical, and contextual factors that affect the negotiation of consensus in musical interaction. The discussion ranges from sociocultural norms of interpersonal conduct to links between music, dance, theater, and ritual, and from issues of authority and deference to musicians' self-perceptions and mutual assessments.
Balinese Gamelan Music
With extensive photographs and an audio CD, this guide to Balinese music showcases the history, culture and art of the gamelan ceremony. Bali has developed and nourished an astonishing variety of musical ensembles--called gamelan--comprising dozens of instruments mainly made of bronze or bamboo, and organized into groups with as many as 30 to 40 players. In Balinese Gamelan Music, Michael Tenzer, a noted Professor of Music at the University of British Columbia, Vancouver, presents an introduction to many types of Balinese gamelan ensembles, each with its own established tradition, repertoire and context. The instruments and basic principles underlying the music are introduced, providing list...
Gamelan Gong Kebyar
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.
