Music in Bali: Experiencing Music, Expressing Culture / Edition 1

by Lisa Gold

Overview

Music in Bali is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study.
Music in Bali introduces the ensemble tradition of Balinese music, reflecting cooperative aspects of the island's social organization. Drawing on many years of study with Balinese performers in the United States and extensive fieldwork in Bali, author Lisa Gold presents contemporary Balinese performance within its cultural and historical context, linking Bali's rich past to its current role in modern, globalized society. She illustrates how new compositions borrow material from earlier traditions while also allowing for individual expression and innovation in vibrant present-day culture. By describing various performances—from a temple ceremony, to a shadow puppet performance, to a masked dance drama—Music in Bali surveys a wide range of performance contexts, from the highly sacred to the secular. It looks at the interconnected layers of the Balinese musical tradition, showing how the island's music, dance, theater, and ritual are intertwined.
Music in Bali is enhanced by eyewitness accounts of local performances, interviews with key performers, and vivid illustrations. Packaged with a 70-minute CD containing examples of the music discussed in the book, it features guided listening and hands-on activities that encourage readers to engage actively and critically with the music.

Product Details

ISBN-13:	9780195141498
Publisher:	Oxford University Press
Publication date:	10/28/2004
Series:	Global Music Series
Edition description:	BOOK & CD
Pages:	208
Product dimensions:	8.24(w) x 6.46(h) x 0.45(d)

About the Author

Lisa Gold teaches at the University of California at Berkeley where she earned her Ph.D. in Ethnomusicology with a specialization in Balinese and Javanese music in ritual & theater, gamelan gender wayang, and shadow puppetry. Other research interests include transmission and communicability, folklore and folk music of the British Isles, oral performance and improvisation, music and space and place, mediatization, and performance eco-systems. Gold has been a Visiting Professor at a number of institutions including Colorado College. She is an active member of Gamelan Sekar Jaya, Gamelan Sari Raras and ShadowLight. She has performed and conducted extensive research in Bali and the U.S., and is the author of a number of articles, including a chapter in Performing Arts in Postmodern Bali: Changing Interpretations, Founding Traditions. Graz Studies in Ethnomusicology (2013), the Bali article in the New Grove Dictionary of Music and Musicians, and a published paper presented at the International Seminar and Festival of Indonesian Music, Smithsonian Institution, Washington DC (2016).

Table of Contents

Foreword, Preface, CD Track List 1. The Balinese Ceremonial Soundscape: Simultaneity of Soundings Place, Time, and Circumstance The Act of Offering Odalan (Temple Ceremonies) and Ramé (Full, Boisterous, Active), Spatial Orientation, Cycles of Time, Large-Scale Time: Stories and History, Cultural Tourism Thinking in Threes: Historical Periods, Degrees of Sacredness, and Spatial Orientation of the Performing Arts The All-Encompassing Adat (Tradition) In the Sacred Space of the Inner Courtyard (Jeroan) : Old-Period Genres as Offerings In the Ceremonial Space of the Middle Courtyard (Jaba Tengah) : Middle-Period Genres The More Secular Space of the Outer Courtyard (Jaba) : New Creations and Entertainment/Conclusion 2. Instruments: Materials, Tuning, and Timbre The Power of Bronze Tuning and Timbre The Waves of Paired Tuning: A Gamelan's Breath of Life Tuning Systems, Scales, and Notation Gamelan Gong Kebyar: The Explosive Twentieth-Century Style Instrument Families in Gamelan Music, The Gongs Cycles of Time in Music: Gongs that Mark Colotomic Meters, Keyed Instruments (Metallophones) Gender-Type Metallophones The Low Metallophone Instruments The Gangsa Family, Gong-Chimes, Reyong, Trompong, Other Layers of Melody, Drums: Aural Conductor of the Ensemble Cymbals (Ceng-Ceng) Conclusion 3. Interlocking and Layering: Musical Roles in the Ensemble The Musical Community of a Gamelan Sekaha/The Stratified Texture of Gamelan: Simultaneous Melodies The Pokok (Basic Melody) Communal Elaboration: Interlocking Parts (Kotekan) Gangsa Kotekan: Polos and Sangsih/Single-Note Kotekan/Syncopated Patterning Kotekan/Expansion and Contraction of a Kotekan Pattern Reyong Figuration: Melodic Interlocking and Percussive Accentuation Comparison of Reyong and Trompong/Leadership, Cueing, and Ensemble Interaction Gaya (Charismatic Gesture) Conclusion: Putting the Layers Together 4. The World of Stories: Integration of Music, Dance, and Drama in Traditional Balinese Theater Playing the Past in the Present, Genres in the Old Category: Sacred Ensembles, Genres in the Middle Category: The Hindu Javanese Legacy, Genres in the New Category: Drawing from Middle and Old and Breaking Free The Idea of Completeness: Revisiting RaméAssumptions and Conventions in Traditional Balinese Theater, The Concept of a "Story:" Orality and Literacy in Performance The Panji Cycle, Levels of Abstraction and Accessibility The Role of Interpreters, Genres of Theater Wayang Kilut (Shadow Puppet Theater) The Dalang, The Progression of a Performance Taksu: Divine Inspiration and "Shifting Focal Points"/Conclusion 5. Characterization, Movement, and Gong Structures That Enliven Balinese Theater Aesthetics and Character Types: Halus (Refined) and Keras (Strong) Male, Female, and Androgynous Dance Styles Topeng (Masked Dance Drama), The Characters Progression of a Topeng Play, Free Choreography, Legong, Free versus Fixed Choreography Elements of Dance and Music in Topeng and Legong, Vocabulary of Movements, Agem Angsel: Dance and Music Articulation, Colotomic Meters, Delineating Theatrical Situation and Mood, Batel, Omang, Bapang, Gabor Longgor, Gilak Gamelan Balaganjur Listening to Two Topeng Pieces, Kecak Conclusion 6. Large-Scale Form in Gong Kebyar and Its Antecedents "Classical" Tripartite Form, Three Contrasting Movements Gineman: Metrically Free Preludes/Listening to an Entire Piece: The Tripartite Form in "Sinom Ladrang"Innovations in Form and Texture in Kebyar Kreasi Baru (New Creations) Form iin Kebyar: Cyclicity and Linearity, New Textures Kebyar Passages: A Display of Gaya Kebyar-istyle Gineman: Gegenderan"Jaya Semara" ("Victorious Divine Love/Love Deity") Transformation of Form and Other Innovations Gong Kebyar Competitions at the Bali Arts Festival Kreasi Baru Trends at the Dawn of the Twenty-first Century Kontemporer Conclusion: Traditional Arts in a Rapidly Changing World Arts Workshop/Studio Collectives (Sanggar) 7. Conclusion: Three Themes Revisited at a Cremation Ceremony, Glossary, References, Resources, Index