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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.
List of Figures Foreword by Steve Reich Acknowledgments Notes on Pronunciation, Orthography, and Transcription Chapter 1. Introduction Encountering and Learning Kebyar Composition, Theory, and Ethnomusicology Overview
Part One: Approaches to Kebyar
Chapter 2. Kebyar Orchestral Resources Kebyar Timbre and the "Outside" of the Sound Scale (Saih) and Tuning(Laras)
Cosmology, Aesthetics, and a Spatial Model for Scale Tones A Three-Dimensional Model of Kebyar Pitch Space Instrumentation Instrument Classification and Textural Strata Vertical Relationships between and within Strata Orchestration in Practice Chapter 3. The Social Construction of Kebyar Ensemble Virtuosity The Geocultural Roots of Balinese Music Balinese Collectivity and the Sekaha The Changing Sekaha I: The Birth of Kebyar The Changing Sekaha II: Kebyar up to Independence The Changing Sekaha III: Kebyar after Independence The Sekaha in the New Order Changes in the Sekaha Today: One Group's Narrative Multidimensionality and Collectivity in Kebyar Chapter 4. Contexts for Kebyar Theory Early Balinese Gamelan Scholarship: McPhee's Contributions Balinese Gamelan Scholarship: 1940 to the Present The Recent History of Music Theory in Java and Bali Javanese Counterparts for Balinese Music Concepts Issues for Kebyar Music Theory Analytical Approaches to Kebyar and the Music of the European Classic Period Elaboration and Style: A Preliminary Analysis
Part Two: Structure in Kebyar
Chapter 5. History, Repertoire, Topic, and Structure Historical Periods and Gamelan Genres Scanning the Repertoire Composition Types and Theatrical Forms Topic Classes Analytical Interlude: From Topic Class to Structural Class Structural Classes Inside Melodies Melodic Identity and Melodic "Quality"
Chapter 6. Melody and Figuration Analytical Conventions and Preliminaries Analytical Commentary on 4-, 8-, and 16-beat Melodies/Character Topic Sources Analytical Commentary on 32- and 64-beat Melodies Analytical Commentary on 128- and 256-beat Melodies/Abstract Topics Unfixed Pokok Elaboration: Payasan Fixed Pokok Elaborations I: Noninterlocking Parts Fixed Pokok Elaborations II: Interlocking Parts Kotekan Categories and Analytical Preliminaries Analysis of Symmetrical Kotekan Patterns Asymmetrical Melody and Elaboration Kinds of Tua-based Asymmetry in Kebyar Asymmetry in Tua Compositions Conclusion: Asymmetry and Vocal Traditions Chapter 7. Meter and Drumming Prelude: Kebyar Drummers as Leaders and Stylists Overview Drum Pattern and Balinese Meter Drum Styles, the Vocabulary of Drum Strokes, and Their Syntax and Structure Pattern Identity and Quality Stable and Active Patterns and the Impact of Drumming on Form Drumming and Dance Movement Drum Improvisation and Kendang Tunggal Conclusion Chapter 8. Form and Composition Prelude: Kebyar Composers Overview Elements, Contexts, and Element-Progressions The Shape of the Gending: Balinese Categories of Musical Form Inside Gending Looking Out Conclusion: Form and Composition Part Three: Kebyar in Bali and Abroad Chapter 9. Fantasy on Wilet Mayura Background and Reception The Text and Singing Locating Innovation and Expression Balinese and Western Temporalities in Context Wilet Mayura in Cross-Cultural Perspective Playing in All Registers Chapter 10. Epilogue: Kebyar and Ideas of New Music Contents of the CDs Sources Cited Index-Glossary of Indonesian and Balinese Terms General Index
Overview
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 ...