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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". -
Performance in Bali
Performance in Bali Performance in Bali brings to the attention of students and practitioners in the twenty-first century a dynamic performance tradition that has fasci- nated observers for generations. Leon Rubin and I Nyoman Sedana, both international theatre professionals as well as scholars, collaborate to give an understanding of performance culture in Bali from inside and out. The book describes four specific forms of contemporary performance that are unique to Bali: • Wayang shadow-puppet theatre • Sanghyang ritual trance performance • Gambuh classical dance-drama • the virtuoso art of Topeng masked theatre. The book is a guide to current practice, with detailed analyses of recent theatrical performances looking at all aspects of performance, production and reception. There is a focus on the examination and description of the actual techniques used in the training of performers, and how some of these techniques can be applied to Western training in drama and dance. The book also explores the relationship between improvisation and rigid dramatic structure, and the changing relationships between contemporary approaches to performance and traditional heritage. These culturally unique and beautiful theatrical events are contextualised within religious, intel- lectual and social backgrounds to give unparalleled insight into the mind and world of the Balinese performer. Leon Rubin is Director of East 15 Acting School, University of Essex. I Nyoman Sedana is Professor at the Indonesian Arts Institute (ISI) in Bali, Indonesia. Contents List -
American Gamelan, Past and Present, With
AMERICAN GAMELAN, PAST AND PRESENT Cornish Presents: NEXT ON CORNISH PRESENTS THANKS AMERICAN GAMELAN, NoiseFold Special thanks to the Cornish Presents season Friday, December 12 at 8 pm sponsor Washington State Arts Commission. Cornish Playhouse at Seattle Center PAST AND PRESENT NoiseFold is the collective identity of David Stout and Cory Metcalf, artists working at the Sunday, December 7, 2014 digital nexus of cinema, music and visual arts. Co-presented with The Institute of Emergent Technology + Intermedia (iET+I), the evening GAMELAN PACIFICA opens with a performance by CLEE (Cornish Live special guest composer DANIEL SCHMIDT Electronic Ensemble) . vocalist JESSIKA KENNEY Tickets: $10 GA, free for students directed by JARRAD POWELL PROGRAM Gendhing bonang TUKUNG kethuk 4 kerep minggah 8, laras pélog pathet barang As Evening Falls D. Schmidt The Edge of Sleep D. Schmidt -intermission- A Tuesday Morning S. Parris Ketawang gendhing KABOR kethuk 2 kerep minggah ladrang KRAWITAN, laras sléndro pathet nem Gendhing Lou Harrison D. Schmidt Stay Connected! Please be respectful of our performers and your fellow audience members by turning off your cell phones before the www.cornish.edu/presents performance begins. Facebook: Cornish Presents Video and audio recording are not permitted in PONCHO Concert Hall. Twitter: @CornishPresents BIOS CONTINUED PROGRAM NOTES Music Concern, including Non Grata, Special GAMELAN PACIFICA MEMBERS As Evening Falls Like in As Evening Falls, the text is presented O.P.S., and the Raymond Scott Project. He is The opening, called a pathetan, is played by again, but in a shortened form, and in a very currently working towards a Masters degree at Jackie An just two players. -
Temu Wicara Bali: a Celebration of Balinese Performing Arts in Honor of the Twentieth Anniversary of Gamelan at Colorado College
The Colorado College Music Department presents Temu Wicara Bali: A Celebration of Balinese Performing Arts in honor of the twentieth anniversary of Gamelan at Colorado College featuring Gamelan Tunjung Sari and Gamelan Santi Suara (Colorado College) Gamelan Candra Wyoga (University of Wyoming) Gamelan Genta Kencana (University of Colorado at Boulder) Gamelan Krama Bali (Balinese Community) Gamelan Manik Kusuma (Metropolitan State University of Denver) Gamelan Tunas Mekar (Denver) The Bowed Piano Ensemble (Colorado College) I Made Lasmawan and Victoria Lindsay Levine, Directors Ni Ketut Marni, Director of Dance May 4, 2013 Packard Hall ACKNOWLEDGMENTS For their good work in helping to produce this event, we thank: Stormy Burns, Cathe Bailie, and Neil Hesse from the Colorado College Music Department Jennifer Kulier and Leslie Weddell from Colorado College Communications Dan Wiencek, Colorado College Information Management Bob Winkelblech and Nolan Keale, Colorado College Facilities Services Mary Ellen Davis, Noel Black, and Delaney Utterbeck from KRCC Radio Bon Appétit Catering Our celebration was made possible by generous funding from the following sponsors: Colorado College Asian Studies Program Colorado College Music Department Colorado College Theatre and Dance Department Colorado College Cultural Attractions Colorado College President’s Office The Christine S. Johnson Professorship The National Endowment for the Humanities Professorship The Colorado Springs Independent The College of Music, University of Colorado at Boulder The Indonesian performing arts program at Colorado College was founded in 1992 by Professor Victoria Lindsay Levine, who imported the gamelan angklung and gamelan gender wayang from Bali with funds from the John D. and Catherine T. MacArthur Professorship and the departments of Music and Asian Studies. -
Cross-Cultural Hybridity in Music Composition: Southeast Asia in Three Works from America Written 1998, Unpublished Christopher Adler
Cross-cultural hybridity in music composition: Southeast Asia in three works from America written 1998, unpublished Christopher Adler The act of composing is an engagement with hybridity. Every composer must mediate between the diverse influences, intentions, theories, and emotions impinging upon the compositional moment. For some composers these mediations may be relegated to the subconscious, for some they may be considerations of fine distinctions that come into play only at the level of detail. The compositions discussed in this article, Spiral, by Chinary Ung, Banyuari, by Michael Tenzer, and Aneh Tapi Nyata, by Evan Ziporyn, inhabit different hybrid realms between multiple categories of music, including: Euro-American contemporary concert music, popular musics, Balinese gamelan, Khmer classical music, and beyond, and as a result illustrate very different approaches to musical hybridization. The hybridity of these works is foregrounded by the composers’ decisions to compose between prior musical categories. The intentional, self-conscious cross-cultural hybrid has a long history within the Euro-American classical tradition, with such composers as Olivier Messiaen, John Cage, Colin McPhee and Lou Harrison, to name a few from this century. The intentional cross- cultural hybrid takes on an increasing significance in Euro-American contemporary music in this postmodern era of rapidly globalizing artistic, culture and commodity flows, where many composers are exposed to musicians, artists, recordings and ethnomusicological documentation of musics from the most distant corners of the world. While hybridity may be fundamental to musics everywhere, this exposure to global diversity is often dependent upon conditions of power and privilege which favor musicians of the urban centers of 2 the West and around the world. -
Harrison, Lou (1917-2003) by John Louis Digaetani
Harrison, Lou (1917-2003) by John Louis DiGaetani Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com American composer Lou Harrison enjoyed a long and distinguished career. He is particularly well known for his use of instruments from the East, especially the Javanese gamelan, and for his melodic and lyrical musical style, despite the fact that he studied composition in the atonal musical style of Arnold Schoenberg. One of America's most original and articulate composers, Harrison explored a number of interests, including puppetry, Esperanto, tuning systems, the construction of musical instruments, and dance. He was also actively involved in political causes, especially pacifism and gay rights. He was born Lou Silver Harrison in Portland, Oregon, on May 14, 1917, but his family moved to the San Francisco Bay area when he was a child, and he lived most of his life on the West Coast of the United States. As a child he was exposed to a wide range of music, including Cantonese operas, Gregorian chants, and Spanish and Mexican music. Harrison attended San Francisco State University, where he decided on music as his major and his life's work. He studied there with Henry Cowell and quickly became fascinated with melody and its powers, particularly in the music of the Orient. He also developed an interest in the works of American composer Charles Ives, some of whose musical manuscripts he later edited. Among Harrison's early compostions is a large body of percussion music that reveals Western, Asian, African, and Latin American rhythmic influences. -
The Gamelan Experience Postclassical Ensemble
fusioncultural THE GAMELAN EXPERIENCE POSTCLASSICAL ENSEMBLE AT WASHINGTON NATIONAL CATHEDRAL JANUARY 23, 2019 • 7:30 PM Tonight’s performance is presented in partnership with Ambassador Budi Bowoleksono and the Embassy of the Republic of Indonesia. Underwriting is provided by The DC Commission on the Arts & Humanities, The Morris & Gwendolyn Cafritz Foundation, Bloomberg Phanthropics and Freeport-McMoRan. fusioncultural THE GAMELAN EXPERIENCE POSTCLASSICAL ENSEMBLE AT WASHINGTON NATIONAL CATHEDRAL JANUARY 23, 2019 • 7:30 PM BENJAMIN PASTERNACK & WAN-CHI SU, piano NETANEL DRAIBLATE violin THE INDONESIAN EMBASSY JAVANESE GAMELAN, PAK MURYANTO, director THE INDONESIAN EMBASSY BALINESE GAMELAN, I. NYOMAN SUADIN, director PostClassical Ensemble conducted by ANGEL GIL-ORDÓÑEZ hosted & produced by JOSEPH HOROWITZ additional commentary INDONESIAN AMBASSADOR BUDI BOWOLEKSONO GAMELAN SCHOLAR BILL ALVES PROGRAM Javanese Gamelan: Sesonderan; Peacock Dance Claude Debussy: Pagodes (1903) Wan-Chi Su Maurice Ravel: La vallée des cloches (1905) Benjamin Pasternack Balinese Gamelan: Taboeh teloe Colin McPhee: Balinese Ceremonial Music for two pianos (1938) Taboeh teloe Pemoengkah Olivier Messiaen: Visions de l’Amen, movement one (1943) Amen de la Création Francis Poulenc: Sonata for Two Pianos, movement one (1953) Prologue: Extrêmement lent et calme Bill Alves: Black Toccata (2007; D.C. premiere) Wan-Chi Su & Benjamin Pasternack Intermission performance: Balinese Gamelan with Dancers Puspanjali Topeng Tua (composed by I. Nyoman Windha) Margapati (depicting -
Community Gamelan in America: Identifying Best Practices in Ensemble Management
Community Gamelan in America: Identifying Best Practices in Ensemble Management © 2017 Arts Indonesia - Gamelan Dharma Swara This research is supported in part by a grant from the Paul R. Judy Center for Applied Research at the Eastman School of Music Table Of Contents I. Introduction II. Methodology III. Articulation Of Challenges IV. Best Practices V. Recommendations VI. Conclusion VII. Acknowledgements Appendix A: Ensemble Profiles 1. Gamelan Dharma Swara 2. Gamelan Son of Lion 3. Gamelan Sekar Jaya 4. Gamelan Galak Tika 5. Portland Taiko 6. Calpulli Mexican Dance Company 7. Lightbulb Ensemble Appendix B: Gamelan Dharma Swara Vision Statement 1 I. INTRODUCTION The shimmering tones and dense textures of gamelan – the percussive ensembles of metallophones, drums, and gongs found in various forms across Indonesia – have long excited and influenced innovative Western composers, from Debussy and Bartok to Glass, Cage, and Reich. Gamelan’s influence can also be heard in modern electronic and pop music: Bjork commissioned the building of the gameleste, a hybrid between a celesta and a gamelan; and Beck invited Burat Wangi, a gamelan ensemble based at the California Institute of the Arts, to participate in his live version of David Bowie's Sound and Vision. The sounds of gamelan have never been more readily accessible to global listeners as they are today, and while gamelan maintains a vibrant standing in its original context, a strong culture of gamelan has proliferated outside the Indonesian archipelago. In the United States roughly 150 -
Global Gamelan in a Worldwide Pandemic Edited by Jody Diamond and Linda Hibbs
COVID COLLECTED REPORTS We Will Survive: Global Gamelan in a Worldwide Pandemic edited by Jody Diamond and Linda Hibbs In March of the year 2020, the spread of the novel coronavirus on for bonding on a regular basis, we launched a series of our planet changed our lives. For those who practice gamelan and YouTube programs to explore theoretical and historical related arts, the restrictions that followed interrupted the very perspectives about Balinese gamelan, something we essence of our music-making: to gather with friends and teachers, rarely have time to dive into during hands-on rehearsals. to react and respond to each other, and to honor both distant [See the report by Pierre Paré-Blais on page 14.] Then roots and local flowers in our ever-evolving global community. came casual Zoom calls between musicians and attempts This issue of BALUNGAN is dedicated to the stories of gamelan at coordinating a virtual kecak, but these only reinforced during COVID, the challenges we faced, and the future that we the fact that for the most part, our heads were elsewhere. now must envision and create together. We express our deep Other immediate consequences of the pandemic were gratitude to all who contributed, and a sincere hope for everyone’s the cancellation of all concerts and activities for the current health, safety, and strength of spirit. artistic season, including I Made Terip’s visit to Montreal —Jody Diamond and Linda Hibbs as guest teacher and composer. This cancellation prompted [Table of groups, countries, and authors on p. 90.] us to rethink our upcoming objectives, wondering whether we’ll be able to regroup at all to prepare for any potential performance. -
Lou Harrison Centennial EVA SOLTES EVA
Please turn off all electronic Photography and audio/video recording devices before entering the in the performance hall are prohibited. performance hall. Lou Harrison Centennial EVA SOLTES EVA DEPARTMENT OF These performances are made possible in part by: PERFORMING ARTS, MUSIC, The P. J. McMyler Musical Endowment Fund AND FILM The Ernest L. and Louise M. Gartner Fund The Cleveland Museum of Art The Anton and Rose Zverina Music Fund 11150 East Boulevard The Frank and Margaret Hyncik Memorial Fund Cleveland, Ohio 44106–1797 The Adolph Benedict and Ila Roberts Schneider Fund The Arthur, Asenath, and Walter H. Blodgett Memorial Fund [email protected] The Dorothy Humel Hovorka Endowment Fund cma.org/performingarts The Albertha T. Jennings Musical Arts Fund #CMAperformingarts Programs are subject to change. Series sponsors: Friday, October 20, 2017 TICKETS 1–888–CMA–0033 cma.org/performingarts Welcome to the PerformingLou Harrison Arts 2017–18 Centennial Cleveland Museum of Art Friday, October 20, 2017, 7:30 p.m. cma.org/performingartsGartner Auditorium, the Cleveland Museum of Art The Cleveland Museum of Art’s performing arts series #CMAperformingarts offers a fascinating concert calendar notable for its boundless multiplicity. This year, visits from old friends Chamber Music in the Galleries CIM Organ Studio Wednesday, October 4, 6:00 Sunday, March 11, 2:00 and new bring century-spanning music from around the Mr. Harrison’s Gamelans globe, exploring cultural connections that link the human Butler, Bernstein & the Hot 9 Wu Man & heart and spirit. Wednesday, October 11, 7:30 Huayin Shadow Puppet Band Suite for Violin and Wednesday,Lou Harrison March 21, (1917–2003) 7:30 Lou Harrison Centennial American Gamelan (1973) & Richard Dee In the Galleries Friday, October 20, 7:30 Chamber Music in the Galleries 1. -
Gamelan Gong Kebyar: a Traditional Balinese Music
UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA Katedra muzikologie GAMELAN GONG KEBYAR: A TRADITIONAL BALINESE MUSIC THE BACHELOR DIPLOMA THESIS Gamelan Gong Kebyar: tradi ční balijská hudba Bakalá řská diplomová práce Kate řina Nová The leader of the thesis: Ph.D. Greg Hurworth Olomouc 2008 6 Index 1. Chapter One: The Introduction to the Project ………………………………….. 4 2. Chapter Two: Background to Bali: 2.1 Geography ……………………………………………………………..11 2.2 Economy …………………………………………………………..…12 2.3 History ………………………………………………………………..12 2.4 Culture and Arts : ……………………………………………………15 2.4.1 Society …………………………………………………………....15 2.4.2 Religion …………………………………………………………..16 2.4.3 Arts ……………………………………………………………….16 3. Chapter Three: Music in Bali: 3.1 Balinese Tuning Systems ………………………………………….22 3.2 The Balinese Tonal System ……………………………………….23 3.3 Notation of Balinese Music ……………………….........................24 3.4 Musical Instruments ………………………………………………...25 3.5 The History and Development of Balinese Gamelans ………..25 3.5.1 Gamelan tua group ………………………………………………26 3.5.2 Gamelan madya group ………………………………………… 29 3.5.3 Gamelan baru group ……….………………….………… ..……..32 4. Chapter Four: Gamelan Gong Kebyar 4.1 General Characteristic ……………………………………………35 7 4.2 History of Gamelan Gong Kebyar …………...…………………36 4.3 Musical Instruments: …………………………………...................40 3.4.1 Idiophones ………………………………………………………40 3.4.2 Aerophones ……………………………………………………..45 3.4.3 Chordophones …………………………………………………..46 3.4.4 Metalophones …………………………………………………...47 4.4 What Is a Structure of Balinese Gamelan -
Dreaming of Virtuosity”: Michael Byron, Dreamers of Pearl
Dreaming of Virtuosity Breathless. Difficult. Obsessive. Audacious. Abstract. Shimmering. Extreme. Such adjectives come to mind when I consider the impact of Michael Byron’s latest composition for solo piano. Byron has been writing piano music for more than thirty years (having produced twelve solo or multiple-keyboard pieces to date), but if we compare his earliest modest effort for solo piano, Song of the Lifting Up of the Head (1972) with his most recent achievement recorded here, Dreamers of Pearl (2004– 05), we might be perplexed by the differences in scope, scale, material, complexity, and technical demands. The pieces have in common a sensitivity for the sound of the piano, a sensibility of extended playing/listening, and a sustained attention toward repetition through seemingly unsystematic processes that gradually transform what we hear. Both pieces create situations demanding a great deal of relaxed yet relentless concentration on the part of the performer and the listener. Indeed, Dreamers of Pearl belongs to a rare class of recent piano music—monumental compositions of great length, beauty, and depth—all self- consciously bound to traditional piano genres and their deeply ingrained structures, yet inventive and thrilling in ways that inspire only a few brave pianists to dedicate themselves wholeheartedly to these often mercilessly difficult pieces. Joseph Kubera, the tremendously gifted pianist for whom Dreamers of Pearl was written, is one of those brave few. Los Angeles, Toronto, New York Michael Byron was born in 1953 in Chicago, and spent his childhood in Los Angeles where he played trumpet from second grade on. Briefly, around age six, he had piano lessons with his aunt; he also studied trumpet with Mario Guarneri of the Los Angeles Philharmonic.