| |
| |
| Foreword | |
| |
| |
| Preface | |
| |
| |
| CD Track List | |
| |
| |
| |
| The Balinese Ceremonial Soundscape: Simultaneity of Soundings | |
| |
| |
| Place, Time, and Circumstance | |
| |
| |
| The Act of Offering | |
| |
| |
| Odalan (Temple Ceremonies) and Rame (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 | |
| |
| |
| |
| 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 | |
| |
| |
| |
| 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 | |
| |
| |
| |
| 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 Rame | |
| |
| |
| Assumptions 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 Kulit (Shadow Puppet Theater) | |
| |
| |
| The Dalang | |
| |
| |
| The Progression of a Performance | |
| |
| |
| Taksu: Divine Inspiration and "Shifting Focal Points" | |
| |
| |
| Conclusion | |
| |
| |
| |
| 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 | |
| |
| |
| |
| 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 in Kebyar: Cyclicity and Linearity | |
| |
| |
| New Textures | |
| |
| |
| Kebyar Passages: A Display of Gaya | |
| |
| |
| Kebyar-style 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) | |
| |
| |
| |
| Conclusion: Three Themes Revisited at a Cremation Ceremony | |
| |
| |
| Glossary | |
| |
| |
| References | |
| |
| |
| Resources | |
| |
| |
| Index | |