Gamelan: The Traditional Sounds of Indonesia (Volume 1) by Henry Spiller

By Henry Spiller

"Gamelan: the normal Sounds of Indonesia" presents an creation to present-day Javanese, Balinese, Cirebonese, and Sundanese gamelan (gong chime orchestra) tune via ethnic, social, cultural, and worldwide views. Deemphasizing in all probability intimidating technical discussions of scales and versions, this designated paintings specializes in the techniques to composing and taking part in gamelan song and the way they relate to cultural and private values.

An advent to Southeast Asian geography and heritage results in a dialogue of the several gamelan traditions in Bali and Java. A bankruptcy on track and dance in West Java comprises never-before released info on various Sundanese tune and dance genres. A case examine of "jaipongan," and "dangdut," indigenous glossy song and dance types, explores their roots, roles, and authenticity.

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Additional resources for Gamelan: The Traditional Sounds of Indonesia (Volume 1)

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If one person recited the basic phrase slowly with a distinct pulse, others could fill in different variants of the phrase while remaining in sync with the basic phrase. The next variation, too, has a regular pulse, but it proceeds twice as fast as the basic phrase, repeats the basic phrase twice but slightly changes its meaning by introducing a new adjective. The following variation, “I really like drinking iced Angkor tea,” features both long and short syllables (in the pattern long-short-short) that provide a rhythmic contrast to the regular pulse of the basic phrase.

Drumming that regulates the ensemble plays an important role in many Southeast Asian ensembles.

Christian missionaries initially tried to eradicate traditional music because of its links to spirit worship; its links to adat, however, made its complete eradication impossible. As a compromise of sorts, Protestant Toba Batak avoid those ceremonies which are specifi- 17 18 Gamelan cally associated with spirit worship, and do not participate in adat practices which involve honoring the musicians as mediators with the spirit world (Koentjaraningrat 1975:62–76; Yampolsky 1997; Purba 2002; Purba 2003).

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