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Adapting and Applying Central Javanese Gamelan Music Theory in Electroacoustic Composition and Performance

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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. See also repository copyright: re-use policy: http://eprints.mdx.ac.uk/policies.html#copy Adapting and Applying Central Javanese Gamelan Music Theory in Electroacoustic Composition and Performance Part I of II Thesis submitted in partial fulfilment of requirements for the degree of Ph. D. Charles Michael Matthews School of Arts Middlesex University May 2014 i Table of contents – part I II TABLE OF FIGURES ................................................................................ III III ACKNOWLEDGEMENTS ........................................................................ IV IV ABSTRACT ........................................................................................... VI V TYPOGRAPHY, LANGUAGE, AND NOTATION ........................................ VII VI PREFACE .............................................................................................. IX 1 INTRODUCTION ..................................................................................... 1 1.1 Research questions .......................................................................................................................................... 1 1.2 Research methods ............................................................................................................................................ 2 1.3 Thesis structure ................................................................................................................................................ 4 1.4 Contributions to knowledge ......................................................................................................................... 6 1.5 Research outputs .............................................................................................................................................. 6 2 GENERAL MUSICAL CONCEPTS ............................................................... 8 2.1 Music as (humanly) organized sound ....................................................................................................... 8 2.1.1 Musical instruments ................................................................................................................................................ 10 2.2 Musical idiom .................................................................................................................................................. 10 2.2.1 Phrasal idiom .............................................................................................................................................................. 12 2.2.2 Instrumental idiom .................................................................................................................................................. 13 2.2.3 Formalizing aspects of idiom ............................................................................................................................... 15 2.2.4 Bi-musicality and multi-musicality ................................................................................................................... 16 2.3 Abstraction in music ..................................................................................................................................... 18 2.3.1 Isolation of values and notation ......................................................................................................................... 19 2.3.2 Creation of a framework ........................................................................................................................................ 19 2.3.3 Mapping ......................................................................................................................................................................... 20 2.4 Conclusion ........................................................................................................................................................ 21 3 CENTRAL JAVANESE GAMELAN MUSIC THEORY AND PRACTICE ........... 23 3.1 Gamelan music and karawitan ................................................................................................................. 23 3.2 Balungan and melodic frameworks ........................................................................................................ 26 3.3 Garap, improvisation, and idiomatic interpretation ........................................................................ 27 3.3.1 Instrumental idiom .................................................................................................................................................. 28 3.3.2 Direct reference to the balungan ....................................................................................................................... 30 3.3.3 Cengkok and wiletan ............................................................................................................................................... 33 3.4 New composition for gamelan .................................................................................................................. 36 3.4.1 New composition for gamelan outside Indonesia ...................................................................................... 38 i 3.4.2 Composition for gamelan and electronics...................................................................................................... 40 3.4.3 Other influences of technology ........................................................................................................................... 41 3.5 Conclusion ........................................................................................................................................................ 42 4 ELECTROACOUSTIC MUSIC THEORY AND PRACTICE ............................. 43 4.1 Musique concrète and acousmatic music ............................................................................................. 43 4.1.1 Abstract values and concrete characteristics ............................................................................................... 45 4.1.2 Grid-based analysis: syntax and discourse .................................................................................................... 46 4.2 Creation of syntax .......................................................................................................................................... 48 4.3 Electroacoustic music and idiom ............................................................................................................. 50 4.3.1 Electroacoustic media in popular and dance music .................................................................................. 52 4.3.2 Idiom and manipulation of discourse .............................................................................................................. 55 4.4 Analyzing syntax and idiom ....................................................................................................................... 56 4.4.1 Accommodating alternative discourse types ............................................................................................... 58 4.5 Conclusion ........................................................................................................................................................ 61 5 STRATEGIES FOR COMPOSITION AND ANALYSIS OF MIXED WORKS ..... 63 5.1 Choosing approaches ................................................................................................................................... 63 5.1.1 Orientation with tradition: a bi-musical relationship?............................................................................. 65 5.2 Derivation of syntax .....................................................................................................................................
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