DOCSLIB.ORG

Aspects of Composition and Improvisation in Balinese Gender Wayang

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aspects of Composition and Improvisation in Balinese Gender Wayang No tree is untouched by the wind: aspects of composition and improvisation in Balinese gender wayang By Nicholas Ivo Walton Gray 2006 Submitted for the degree of Doctor of Philosophy (Ph.D.) at the School of Oriental and African Studies, University of London ProQuest Number: 10731331 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731331 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This thesis is an examination of the music of the Balinese gender wayang, the quartet of metallophones (gender) that accompanies the Balinese shadow puppet play ( wayang kulit). The research focuses on processes of musical variation, the main means of creating new music in this genre, and the implications of these processes for the social and historical study of Balinese music, musical aesthetics, concepts of creativity and compositional methods. Firstly, it studies the processes of composition and variation-making in this unnotated tradition. Secondly, it examines the relationship between pre­ composition and spontaneous variation-making. Thirdly, it explores concepts of musical composition, variation, improvisation and creativity in gender wayang, which shed light on attitudes to these processes in Bali in general. These processes are examined in two main geographical areas: Sukawati in South Bali and, secondly, the contrasting area of East Bali, particularly the villages of Budakeling and Tenganan. Part 1 (chapters 1 to 3) describes the context of gender wayang within Balinese musical and ritual life and gives an overview of improvisation and composition in Balinese music. It also contains a review of existing literature on gender wayang (chapter 2) and an overview of relevant ethnomusicological theories of improvisation and composition (chapter 3). In part 2 (chapters 4 to 6), I examine compositional techniques in gender wayang in more depth, as well as aspects of regional variation, before analysing the processes at work in a spectrum from the more improvised to the more pre-composed, illuminated by players’ comments (chapter 6). Finally, in part 3 (chapters 7 and 8), I draw out and bring into focus certain themes raised by the processes described in the previous chapters, particularly those that relate to changing social contexts for the music. 2 Contents Preface 6 A note on spelling, transcriptions and tuning 7 Map of Bali 8 Table 1: The improvisation tocomposition continuum in gender wayang 140 Table 2: Differences in four-note cells between repetition, improvised version of “Katak Ngonkek” 164 Musical example 20 fold-out 147 Musical example 29 fold-out 162 Musical example 52 fold-out 220 Part 1: Concepts Chapter 1; Introduction 9 1.1 Scope of the study 9 1.2 Performance contexts: wayang and ritual 11 1.3 Bali soundscape 16 1.4 Composition in Bali 18 1.5 Improvisation in Balinese music 21 1.6 The instruments and tuning 23 1.7 Techniques and textures 25 1.8 Types of piece 28 1.9 The course of a performance 32 1.10 Learning 34 1.11 Fieldwork 37 1.12 My teachers and where they live 39 1.13 Conclusion 46 Chapter 2: A survey of existing literature on gender wayang 48 2.1 Some early sources 48 2.2 Colin McPhee 50 2.3 Other short studies 56 3 2.4 Lisa Gold 60 2.5 Brita Heimarck 68 2.6 Henrice Vonck 72 2.7 Literature printed in Bali 77 2.8 Conclusion 78 Chapter 3: Some key literature on composition, variation-making and improvisation 79 3.1 Continuity, variation, selection 79 3.2 Tune families and transformation 82 3.3 Orai-formulaic theory 84 3.4 The improvisation to composition continuum 86 3.5 Interactive approaches 88 3.6 Inner melodies and steady states 91 3.7 Cognitive approaches 94 3.8 Creativity: unconscious, conscious or self-conscious? 98 Part 2: Explorations Chapter 4: Compositional structures and techniques 101 4.1 A unique ensemble? 101 4.2 Pokok 104 4.3 Transposition 106 4.4 Variation form 109 4.5 Textural contrast 110 4.6 Modality 111 4.7 The melodic and rhythmic system of kotekan 113 4.8 Rhythmic flexibility 114 4.9 Relationship with vocal music 116 4.10 Dramatic representation 118 4.11 Referentiality 120 Chapter 5: What players say 122 5.1 Terminology 122 4 5.2 Regional identity 124 5.3 Discussions with musicians in Sukawati 125 5.4 Discussions with musicians in Tenganan 128 5.5 Discussions with musicians in Budakeling 131 5.6 Discussions with musicians in Abang 135 Chapter 6: What players play 141 6.1 Improvisation 1: spontaneous variations 142 6.2 Improvisation 2: malleable units 180 6.3 Pre-planned small variations within a piece 194 6.4 Adding, taking away, sharing and transforming short segments 211 6.5 Making new variation sections 216 6.6 Making new gineman 233 6.7 New versions of old pieces 236 6.8 New pieces 246 6.9 Summary 265 Part 3: Shifting boundaries Chapter 7: Sing ada kayu luput teken angin (no tree is untouched by the wind) 274 7.1 Teaching, learning, experience 274 7.2 Kinaesthetic and symbolic content 276 7.3 Performance contexts 277 7.4 Some shifting boundaries 280 7.5 Gender, improvisation and freedom 284 7.6 Where do new ideas come from? 287 Chapter 8: Conclusions and new directions 290 Appendix 1: Glossary 294 Appendix 2: Bibliography, list of field recordings and discography 300 Appendix 3: Tuning measurements 310 Appendix 4: Contents of the accompanying CD 311 5 Preface Acknowledgements I would like to thank all my teachers, fellow players and friends in Bali, who made my study of gender wayang possible, particularly: I Wayan Loceng, I Wayan Nartha, I Ketut Sukayana, I Wayan Suprapta, I Ketut Buda Astra, I Komang Wrespatika, I Wayan Sarga, I Wayan Warga, I Nyoman Gunawan, I Wayan Mudita, I Wayan Dasta, Ida Wayan Ngurah, Ida Wayan Oka Granoka, Ida Nyoman Sugata, 1 Nyoman Sutawa and family, I Made Kondra, Nyoman Kota, I Made Putu, I Wayan Jira, I Made Widastra, I Wayan Mustika, and many others. I would like to thank the late Dr Laurence Picken of Cambridge University for his inspiring suggestion, nearly two decades ago, that I should look into the nature of composition in Bali. I would like to thank my supervisor at the School of Oriental and African studies, Dr David Hughes, for guiding this study, Professor Richard Widdess and Dr Mark Hobart for many useful insights and comments and Ni Made Pujawati for teaching me Balinese. Thanks also to Lisa Gold and Henrice Vonck for their supportive comments via e-mail. Thanks to Margaret Birley at the Horniman Museum in London for the use of a TLA Tuning Set to measure the tuning of my instruments in cents. Thanks to Chris Comber for drawing the map. Much of the background to this study was made possible thanks to my initial study in Bali, from 1987 to 1989, on a Dharmasiswa scholarship from the Indonesian Department of Education and Culture, i also gratefully acknowledge the fieldwork grants from the University of London Central Research Fund and from the School of Oriental and African Studies, which enabled me to conduct fieldwork in 2002. 6 A note on spelling, transcriptions and tuning Where appropriate, I indicate Indonesian words by “I” and Balinese words by “B”. I follow the most commonly used romanisation of Balinese, which distinguishes between e and e, while Indonesian simply uses e for both sounds. I retain this distinction for personal names but not place names, where Indonesian forms are better known from maps (such as Denpasar and Tejakula). In Balinese, but not Indonesian, final a is pronounced as the a in the English “China”. In both Balinese and Indonesian, c is pronounced “ch”. Where I quote an author, I use the spelling and format used in the original text, thus: gender sometimes appears as gender or gender or gender, and wayang kulit as wajang koelit. Where Javanese forms are referred to, I use the Javanese versions: gendhing for gending and dhalang for dalang. There is some variation in the tuning of different gender wayang ensembles (see chapter 1, below). McPhee (1936 and 1966) expresses gender wayang tuning by the following Western notes: F#, G#, B, C#, and E. Gold (1992 and 1998) and Heimarck (1999 and 2003) prefer: F, Ab, Bb, C and Eb. I have opted for the form F, G, Bb, C and Eb, approximating the pitch of the lowest of my own instruments (the tunings of these are presented in cents in appendix 3). In the transcriptions, I have used bar lines more as a guide to the reader’s eye than to mark significant metric stresses. Where notating all the rests would confuse a transcription, I follow Tenzer (2000) in omitting them. Depending on clarity, most musical examples are notated with right and left hands on separate staves (marked R.H. and L.H.) with the stems of polos player’s notes downwards and the sangsih stems up. In other examples, again to clarify the point being made, the polos and sangsih parts are written on separate staves, with right hands stems up and left hands stems down.
Load more

Recommended publications
  • Banyumas People's Characteristics Symbolically Reflected on Calung
    Harmonia: Journal of Arts Research and Education 18 (1) (2018), 82-96 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v18i1.11570 Banyumas People’s Characteristics Symbolically Reflected on Calung Banyumasan Performance Suharto Department of Drama, Dance and Music, Faculty of Language and Arts, Universitas Negeri Semarang, Indonesia Received: Oktober 19, 2017. Revised: April 23, 2018. Accepted: June 10, 2018 Abstract This research aims at examining how Banyumas people’s characteristics are symbolically ex- pressed in Calung Banyumasan performance. This qualitative research employs a hermeneutic approach to examine any symbolic meanings in calung performance. The data are collected by literary study, document study, observation and interview, which are then analyzed using con- tent analysis and interactive analysis of Miles and Huberman. The research results show that some song lyrics identify Banyumas people’s images and characteristics such as equality and honesty (cablaka) just like the ngoko level language they use. The performance consists of opening, Lenggeran, Badhudan, and Baladewan acts in the process of illustrating the character of Banyumas people who love jokes and crowd. Some aspects arising in performance reflect Banyumas people as an egalitarian, straightforward, like-to-gather, and syncretic society. Keywords: Calung Banyumasan; Characteristics Symbolically; Banyumas People How to Cite: Suharto. (2018). Banyumas People’s Characteristics Symbolically Reflected on Calung Banyumasan Performance. Harmonia: Journal of Arts Research And Education, 18(1), 82-96. doi:http://dx.doi.org/10.15294/harmonia. v18i1.15524 INTRODUCTION round needs to be thoroughly studied. They only study senggakan “in plain view” When we pay attention, many song and technically from musical perspective lyrics and dance moves in lengger, dagelan, by mentioning it as an identity, but they and senggakan are very special and reflect have not thoroughly discussed the mea- Banyumas people.
    [Show full text]
  • Innovative Approaches to Melodic Elaboration in Contemporary Tabuh Kreasibaru
    INNOVATIVE APPROACHES TO MELODIC ELABORATION IN CONTEMPORARY TABUH KREASIBARU by PETER MICHAEL STEELE B.A., Pitzer College, 2003 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA August 2007 © Peter Michael Steele, 2007 ABSTRACT The following thesis has two goals. The first is to present a comparison of recent theories of Balinese music, specifically with regard to techniques of melodic elaboration. By comparing the work of Wayan Rai, Made Bandem, Wayne Vitale, and Michael Tenzer, I will investigate how various scholars choose to conceptualize melodic elaboration in modern genres of Balinese gamelan. The second goal is to illustrate the varying degrees to which contemporary composers in the form known as Tabuh Kreasi are expanding this musical vocabulary. In particular I will examine their innovative approaches to melodic elaboration. Analysis of several examples will illustrate how some composers utilize and distort standard compositional techniques in an effort to challenge listeners' expectations while still adhering to indigenous concepts of balance and flow. The discussion is preceded by a critical reevaluation of the function and application of the western musicological terms polyphony and heterophony. ii TABLE OF CONTENTS Abstract ii Table of Contents : iii List of Tables .... '. iv List of Figures ' v Acknowledgements vi CHAPTER 1 Introduction and Methodology • • • • • :•-1 Background : 1 Analysis: Some Recent Thoughts 4 CHAPTER 2 Many or just Different?: A Lesson in Categorical Cacophony 11 Polyphony Now and Then 12 Heterophony... what is it, exactly? 17 CHAPTER 3 Historical and Theoretical Contexts 20 Introduction 20 Melodic Elaboration in History, Theory and Process ..' 22 Abstraction and Elaboration 32 Elaboration Types 36 Constructing Elaborations 44 Issues of "Feeling".
    [Show full text]
  • Liner Notes to “Bali 1928: Gamelan Gong Kebyar.” World Arbiter 2011 [CD]
    CMYK 80785-2 80785-2 WAYNE VITALE & BRIAN BAUMBUSCH (b. 1956) (b. 1987) WAYNE VITALE &WAYNE BRIAN BAUMBUSCH MIKROKOSMA File Under: Classical/ Contemporary/ Vitale–Baumbusch NEW WORLD RECORDS Mikrokosma (2014–15) 51:55 8. VIII. Gineman Out 5:37 (Wayne Vitale & Brian Baumbusch) 9. IX. Pomp Out 3:58 1. I. Feet 1:28 10. X. Selunding Out 3:31 2. II. Selunding 6:28 11. XI. Feet Out 2:45 3. III. Pomp 7:10 The Lightbulb Ensemble, Brian Baumbusch, musical director 4. IV. Gineman 5:23 • MIKROKOSMA 5. V. Dance 3:35 12. Ellipses (2015) 9:27 6. VI. Pencon 8:32 (Brian Baumbusch) Santa Cruz Contemporary Gamelan, 7. VII. Tari 3:28 Brian Baumbusch, musical director TT: 61:31 • MIKROKOSMA NEW WORLD RECORDS New World Records, 20 Jay Street, Suite 1001,Brooklyn, NY112 01 Tel (212) 290-1680 Fax (646) 224-9638 WAYNE VITALE &WAYNE BRIAN BAUMBUSCH [email protected] www.newworldrecords.org ൿ & © 2017 Anthology of Recorded Music, Inc. All rights reserved. Printed in U.S.A. 80785-2 80785-2 CMYK WAYNE VITALE & BRIAN BAUMBUSCH (b. 1956) (b. 1987) MIKROKOSMA WAYNEWAYNE VITALEVITALE&& BRIANBRIAN BAUMBUSCHBAUMBUSCH Mikrokosma (2014–15) 51:55 (Wayne Vitale & Brian Baumbusch) MIKROKOSMA 1. I. Feet 1:28 2. II. Selunding 6:28 3. III. Pomp 7:10 4. IV. Gineman 5:23 5. V. Dance 3:35 6. VI. Pencon 8:32 7. VII. Tari 3:28 8. VIII. Gineman Out 5:37 9. IX. Pomp Out 3:58 10. X. Selunding Out 3:31 11. XI. Feet Out 2:45 The Lightbulb Ensemble, Brian Baumbusch, musical director 12.
    [Show full text]
  • Music in a Marriage Ceremony Sunda Tradition "Nyawer" 1)
    Jurnal International Seminar on Languages, Literature, Art and Education (ISLLAE) e-ISSN: 2685 - 2365 e-Jurnal:http://journal.unj.ac.id/unj/index.php/isllae Volume 1 Issue 2, July 2019 DOI: doi.org/10.21009/ISLLAE.01247 Received: 5 June 2018 Revised: 10 June 2018 Accepted: 14 August 2018 Published: 31 July 2019 Music in A Marriage Ceremony Sunda Tradition "Nyawer" 1) Dr. Caecilia Hardiarini, M.Pd1,a) Universitas Negeri Jakarta1) [email protected]) Abstract This study aims to determine the existence of Sundanese art, especially in traditional Sundanese marriage in terms of music and supporting tools. The method used is descriptive qualitative, located in Gunungsindur Regency Bogor by observation observe directly Nyawer process, interview and document analysis as complement of data. The results show that music in the Nyawer marriage ceremony contains the meaning that is spoken in the form of songs to be more impregnated very deeply. The poems that are written give meaning to the greatness of God who has brought together the couple and should the couple be able to interpret the life more wisely, able to be responsible to his partner Nyawer ceremony performed by Nyawer (male and female or both), with the accompaniment of Degung Gamelan instrument, or flute and vocals. Supporting tools in the form of materials that symbolize the source of sustenance and longevity for the bridal couple is placed on the bokor symbol of preservation of tradition. Key Words: Sunda Tradition, Music Ceremony, Nyawer Abstrak Penelitian ini bertujuan untuk mengetahui keberadaan seni Sunda, khususnya dalam pernikahan tradisional Sunda dalam hal musik dan alat pendukung.
    [Show full text]
  • Gamelan Gender Wayang of Bali: Form and Style
    ..................~~.~.~.. ~------------------ WESLEYAN UNIVERSITY Gamelan Gender Wayang of Bali: Form and Style by Kalafya Brown A thesis submitted to the facuIty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts in Music May, 2000 Middletown, Connecticut My teacher, Kak Luweng, and myself playing gender (above) and just sitting (below), 2 Introduction and Acknowledgements I began studying gamelan music in 1994 while I was an undergraduate at the Massachusetts Institute of Technology. No one tends offhand to associate gamelan with MIT. but there it is. Professor Evan Ziporyn has been directing the gong kebyar ensemble Gamelan Galak Tika at MIT since 1993, and I was an active member from 1994 until 1997. Unfortunately the pressure of my studies at Wesleyan has not allowed me to play with Galak Tika as much as I would like in the past few years. For the three years of my tenure with Galak Tika we were blessed with the artistry of the Balinese husband and wife team of I Nyoman Catra and Desak Made Suarti Laksmi. The magnificent teaching and performance prowess of Evan, Catra and Desak formed the basis of my introduction to gamelan music. In 1997 I came to Wesleyan University to study for the degree of Master of Arts in Music, of which this thesis is a part. Here at Wesleyan I have had the great honor of studying with I. M. Harjito and Sumarsam, two Javanese artists. I sincerely thank them for broadening my awareness of the multifaceted natures of Indonesian music and for sharing with me the great beauty of the central Javanese court gamelan.
    [Show full text]
  • Perkembangan Gender Wayang Kayumas Oleh
    Perkembangan Gender Wayang Kayumas Oleh : Ni Ketut Suryatini, SSKar., M.Sn dan Ni Putu Tisna Andayani, SS Perkembangan Variasi, Komposisi Gender Wayang sebagai kesenian yang tetap eksis di masyarakat karena keterkaitannya dengan upacara agama, akhir-akhir ini mendapat pula sentuhan variasi dari para seniman pendukungnya terutama dari seniman akademis dan generasi muda. Pemberian variasi sifatnya sah-sah saja sepanjang tidak meninggalkan unsur-unsur musikal nilai estetika dan etika. Sejarah Gender Wayang pada abad ini mengarah pada persimpangan jalan yang diwarnai dengan adanya saling mempengaruhi dengan gamelan-gamelan lain, termasuk gong kebyar, yang menonjol pertama sebagai musik instrumental untuk gong di Bali Utara pada tahun 1914 dan kemudian dikembangkan sebagai iringan tari. Setelah gong baru itu mulai berkobar di Bali Selatan (Sekehe gong di Pangkung Tabanan, Belahan Denpasar, Peliatan Gianyar), komposisi- komposisi baru untuk pelegongan dan semar pagulingan dari Kuta juga mulai diserap oleh gong kebyar, yang sampai saat itu mendapat pengaruh dalam perkembangannya berdasarkan tradisi gong sebagai titik tolak. Wayang Lotring adalah seorang tokoh dalam pelegongan dan gender wayang yang pernah belajar tradisi-tradisi gender yang lain disamping dari desanya sendiri, termasuk di Kayumas Kaja Denpasar dan Sukawati, dan latar belakang tersebut merupakan sebuah harta karun dalam karya-karya baru dari imajinasinya. Dalam penggalian tradisi gender dia mentransfer gending Sekar Gendot dengan penyesuaian, perubahan dan penambahan ke pelegongan. Proses peminjaman dan transformasi itu dari gender ke gong kebyar juga dilakukan di Jagaraga termasuk bentuk gineman sehingga dikembangkan suatu urutan tertentu dalam kebyar : kebyar, gineman, gegenderan dan bagian-bagian berikutnya seperti gilak, bapang dan playon dalam berbagai kombinasi. Inspirasi dari gender dalam kebyar dan perkembangan saih pitu pada masa ini masih berjalan; sebuah kutipan dari ”Pemungkah” gaya Kayumas bagian lainnya seperti ”Tulang Lindung”, telah muncul juga dalam kreasi gong.
    [Show full text]
  • University of Oklahoma Graduate College
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By GUAN YU, LAM Norman, Oklahoma 2016 JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Paula Conlon, Chair ______________________________ Dr. Eugene Enrico ______________________________ Dr. Marvin Lamb © Copyright by GUAN YU, LAM 2016 All Rights Reserved. Acknowledgements I would like to take this opportunity to thank the members of my committee: Dr. Paula Conlon, Dr. Eugene Enrico, and Dr. Marvin Lamb for their guidance and suggestions in the preparation of this thesis. I would especially like to thank Dr. Paula Conlon, who served as chair of the committee, for the many hours of reading, editing, and encouragement. I would also like to thank Wong Fei Yang, Thow Xin Wei, and Agustinus Handi for selflessly sharing their knowledge and helping to guide me as I prepared this thesis. Finally, I would like to thank my family and friends for their continued support throughout this process. iv Table of Contents Acknowledgements ......................................................................................................... iv List of Figures ...............................................................................................................
    [Show full text]
  • Gaining Insight Into Cultural Geography Through the Study of Musical Instruments
    UC Irvine Journal for Learning through the Arts Title Gaining Insight into Cultural Geography through the Study of Musical Instruments Permalink https://escholarship.org/uc/item/10c4v90c Journal Journal for Learning through the Arts, 6(1) Author Khalil, Alexander K Publication Date 2010 DOI 10.21977/D96110016 eScholarship.org Powered by the California Digital Library University of California Khalil: Gaining Insight into Cultural Geography through the Study of Musical Instruments Geographic literacy enables students to comprehend the delicate balance between the human and physical elements that bind people to this planet. Knowledge of geography is a key component in understanding—and acting effectively in—our increasingly interconnected world. Yet, American youth struggle with basic geographic facts. Confronted with an unlabeled world map, 58 percent of 18 to 24-year-olds living in the United States cannot locate Japan; 65 percent cannot find France; 29 percent cannot locate the Pacific Ocean (Roper, 2006). Complaints about the lack of geographic literacy among American students are not new. Lucy Sprague Mitchell (1991) described the children of the 1930’s as living in a world of disconnected “end products.” This “disconnect” has become more apparent in our own era, when students routinely arrive at school wearing clothes stitched by workers who live in countries the students cannot find on a map. This level of ignorance takes on a special poignancy at the present time: young Americans have been fighting in Iraq since 2003, yet only 37% of their peers in the U.S. can even find Iraq on a map (Roper, 2006). In an era when high-stakes testing has fixed the media spotlight on student achievement in language arts and math, finding time to teach geography takes ingenuity.
    [Show full text]
  • Downloaded from Brill.Com09/26/2021 01:14:48PM Via Free Access Wim Van Zanten - 9789004261778 Downloaded from Brill.Com09/26/2021 01:14:48PM Via Free Access
    PART FIVE THE ETHNIC MODERN Wim van Zanten - 9789004261778 Downloaded from Brill.com09/26/2021 01:14:48PM via free access Wim van Zanten - 9789004261778 Downloaded from Brill.com09/26/2021 01:14:48PM via free access <UN> <UN> CHAPTER ELEVEN MUSICAL ASPECTS OF POPULAR MUSIC AND POP SUNDA IN WEST JAVA Wim van Zanten Introduction: Sundanese Music and the Technology of Enchantment Research on popular music, particularly in the field of cultural studies, has tended to focus on political and sociological aspects, to the exclusion of musical structures and actual sounds. Whereas in most societies musi- cal genres are in the first place classified by social criteria, it is undeniable that also the technicalities of the music play a role: audiences hear the differences between, for instance, jaipongan and degung kawih perfor- mances. This is because these musics are produced in different ways, using different instruments, tone material, musical structure, etc. Alfred Gell made an important contribution to the anthropological study of art by pointing out that the production of art is a technological process. He mentions that there are ‘beautiful’ things, like beautiful women, beautiful horses and a beautiful sunset. However, art objects are made ‘beautiful’ by human beings and this requires technology. He criti- cizes sociologists like Pierre Bourdieu, who do not really look at an art object as a concrete product of human ingenuity, but only elaborately look at the represented symbolic meanings (Gell 1999:162). In contrast, Gell proposes that anthropologists should look at art as a ‘component of technology.’ We call something an object of art if it is the outcome of a technological process, the kind of processes in which artists are skilled.
    [Show full text]
  • Adapting and Applying Central Javanese Gamelan Music Theory in Electroacoustic Composition and Performance
    Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Matthews, Charles Michael (2014) Adapting and applying central Javanese gamelan music theory in electroacoustic composition and performance. PhD thesis, Middlesex University. [Thesis] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/14415/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated.
    [Show full text]
  • UPT Perpustakaan ISI Yogyakarta GENDERAN GENDING SLEDRENG LARAS SLENDRO PATHET SANGA KENDANGAN JANGGA KENDANG SETUNGGAL
    JURNAL GENDERAN GENDING SLEDRENG LARAS SLENDRO PATHET SANGA KENDANGAN JANGGA KENDANG SETUNGGAL Oleh: Ayu Cipta Ningrum 1410539012 JURUSAN KARAWITAN FAKULTAS SENI PERTUNJUKAN INSTITUT SENI INDONESIA YOGYAKARTA 2019 UPT Perpustakaan ISI Yogyakarta GENDERAN GENDING SLEDRENG LARAS SLENDRO PATHET SANGA KENDANGAN JANGGA KENDANG SETUNGGAL Ayu Cipta Ningrum1 Jurusan Karawitan, Fakultas Seni Pertunjukan, Institut Seni Indonesia Yogyakarta ABSTRAK “Genderan Gending Sledreng Laras Slendro Pathet Sanga Kendangan Jangga Kendang Setunggal” adalah gending gaya Yogyakarta, gending yang termuat dalam buku Gending-gending mataraman gaya Yogyakarta jilid I, Gending Sledreng ini termasuk gending Soran. Gending berpathet sanga ini gending yang menarik untuk digarap, meskipun gending ini pathet sanga namun di dalamnya terdapat garap slendro Nem dan manyura. Gending ini dibedah dengan Konsep Pathet Dalam Karawitan Jawa (Sri Hastanto). Metode yang digunakan dalam penelitian ini adalah deskriptif analisis. Proses penggarapan penyusunan skripsi ini menggunakan tahapan sebagai berikut: Persiapan penulisan balungan gending, analisis balungan gending, analisis ambah- ambahan, analisis pathet, analisis padhang dan ulihan, deskripsi analisis tafsir cengkok gender, dan aplikasi garap dalam bentuk penyajian. Kata kunci: Genderan Gending Sledreng Pendahuluan Gending Sledreng termuat dalam buku Gending-gending Mataraman gaya Yogyakarta dan cara menabuh jilid I yang disusun oleh Raden Bekel Wulan Karahinan dan diterbitkan oleh K. H. P. Kridha Mardawa Karaton Ngayogyakarta Hadiningrat. Gending Sledreng laras slendro pathet sanga merupakan salah satu gending karawitan gaya Yogyakarta. Di samping itu Gending Sledreng laras slendro pathet sanga juga dapat diketemukan dalam buku Titi Laras Gending Ageng Jilid I, Kahimpun dening Ki Wedono Laras Sumbogo, R. Sutedjo dan Adissoendjojo yang diterbitkan oleh Noordhofp-Kolft NV Djakarta. Berdasarkan buku Gending-gending 1Alamat korespondensi: Prodi Seni Karawitan ISI Yogyakarta, Jalan Parangtritis KM 6,5 Sewon, Yogyakarta 55001.
    [Show full text]
  • Download Article
    Advances in Social Science, Education and Humanities Research, volume 271 2nd International Conference on Arts and Culture (ICONARC 2018) Gambang Semarang Music as A Cultural Identity Of Semarang’s Community E Raharjo*, U Arsih Drama, Dance, and Music Department Faculty of Languages and Arts Universitas Negeri Semarang, Semarang, Indonesia *[email protected] Abstract—As a performing art “Gambang Semarang law, broadcasting program, performance form, and culture music” is part of gambang Semarang art that was created in [3]–[12]. However, the researches that exclusively discuss form of complex performing arts consisting of Drama, Dance, about gambang Semarang are form and function of and Music. Several efforts have been done by Semarang’s performance [12] and the process of cultural hybridization society to make it a cultural identity of Semarang. The purpose [6]. Therefore, the researches discuss about the form of of this research was to know, to describe and to analyze the Semarang society’s participation in making Gambang Semarang societies’ participation in supporting the process Semarang music as a cultural identity of Semarang. The data of making gambang Semarang music as one of cultural obtained were qualitative that were from observations, identity of this city. document studies, and deep interviews with the informants. The results showed that Semarang society’s effort in realizing II. METHODOLOGY Gambang Semarang music as Semarang’s cultural identity was This research was done by mix method approach. The manifested in both formal and non formal education, festivals or competitions, workshop, discussions, and performances. combination between qualitative and participatory approach was needed because the both approaches can complete each Keywords—gambang semarang, music, cultural identity other in the process of research’s data taking and data collecting.
    [Show full text]