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| Foreword | |
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| Preface | |
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| CD Track List | |
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| First Hearings | |
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| Introduction | |
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| What Is a Gamelan? | |
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| Gamelan Performance Contexts in Solo: Life Cycles and Musical Cycles | |
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| Cyclicity and Coincidence | |
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| Music in the Everyday | |
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| Patronage and Sociopolitical Change | |
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| Social Status, Language, and Interaction | |
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| Gamelan at the Radio Station | |
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| Similarities and Differences | |
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| Categories and Cross-Cultural (Mis)Communication | |
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| Conclusion: Three Themes | |
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| Flexibility of Frameworks and Processes | |
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| Appropriateness | |
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| Interconnectedness | |
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| A Sense of Time | |
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| Making and Marking Musical Time: Gongs and Drums | |
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| Cyclicity and Colotomic Function | |
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| Drumming | |
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| Lancaran Drum Patterns | |
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| Gongs, Drums, and the Flexibility of Time | |
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| Gamelan, Tuning, and Instrumental Melody | |
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| Gamelan Tunings | |
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| Tuning Systems: Slendro and Pelog | |
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| Gamelan Instruments | |
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| Instrumental Melody | |
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| Melody and Elaboration | |
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| Balungan, Peking, and Bonang | |
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| "Landrang Asmaradana" | |
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| Songs, Singers, and Gamelan | |
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| Social Aspects of Singing | |
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| Poetry, Song, and Gamelan | |
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| Conclusion | |
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| Melodic Elaboration and Training in the Arts | |
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| Rebab, Gender, and Other Elaborating Instruments | |
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| Cengkok, Variation, and the Transmission of Musical Knowledge | |
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| Shadows and Tales | |
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| Wayang in Pangkah Village | |
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| Javanese Shadow Plays | |
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| The Stories and the Telling: The Main Elements | |
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| Physical Setup | |
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| Plots and Plot Sources | |
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| Characters and Character Types | |
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| Language and Voice | |
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| Movement Patterns | |
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| Dramatic Structure: Schemata of Various Sizes | |
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| Conclusion | |
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| Music for Motion and Emotion--Wayang Kulit | |
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| "Brajadenta Balela" | |
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| Wayang Repertoire | |
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| Music for Expressing Emotion: Sulukan | |
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| Music for Accompanying Motion: Gendhing Lampah | |
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| Music for Setting a Scene: Gendhing | |
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| Return to "Brajadenta Balela" | |
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| Flexibility and Appropriateness | |
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| Conventions and Innovations | |
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| Java and Beyond | |
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| Pak Cokro | |
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| Interconnectedness: Theater, Dance, and Music | |
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| Educational Institutions | |
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| Regionalism and the Dominance of Solonese Style | |
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| Java and the Rest of Indonesia | |
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| Java and the World | |
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| Conclusion | |
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| Glossary | |
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| References | |
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| Resources | |
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| Index | |