chapter 7 indonesian gamelan music: interlocking rhythms, interlocking worlds

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Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

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Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds. Bali is a small island in the Southeast Asian nation of Indonesia Hinduism and Buddhism were brought to Bali from Java, blending together with earlier Balinese beliefs to form new religious ideas - PowerPoint PPT Presentation

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Page 1: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Chapter 7Indonesian Gamelan Music:Interlocking Rhythms, Interlocking Worlds

Page 2: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Bali is a small island in the Southeast Asian nation of Indonesia

Hinduism and Buddhism were brought to Bali from Java, blending together with earlier Balinese beliefs to form new religious ideas

Bali was colonized by the Dutch in 1906-1908

The Republic of Indonesia gained full independence in 1949

Page 3: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Introduction

Page 4: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

The term gamelan essentially means ‘ensemble’ or ‘orchestra,’ and refers to a wide variety of percussion-dominated musical ensembles in Indonesia

Each gamelan contains large numbers of individual instruments, but the gamelan is also considered in its entirety as a single musical instrument

Gamelan beleganjur is a processional ensemble traditionally used in warfare, but now associated with many rituals and ceremonies.

Page 5: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Balinese Gamelan Music in Context

Page 6: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Bali and the Republic of Indonesia

Bali is one of 17,000+ islands in Indonesia

3 million people live here

Home to an enormous tourist industry

The capital of Indonesia is Jakarta, which holds 14 million

Indonesia became independent in 1945, gaining full national sovereignty in 1949

The national slogan translates to Unity in Diversity

Page 7: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Religion in Bali and Indonesia

Indonesia is the largest Islamic nation in the world, both geographically and in terms of population

Bali is the only province in which Hinduism is the major religion

Balinese Hinduism is a unique mix of Hindusim, Buddhism, and earlier ideas from indigenous Balinese beliefs

Gamelan music is central to Balinese Hinduism and is performed at most religious ceremonies

Page 8: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Hindu-Balinese cosmology conceives of the universe as having three worlds

The Upper world contains the gods and ancestors

The Middle World is Bali itself, the earthly realm of the Balinese

The Lower World begins where land meets sea and contains evil spirits who pose threats to humankind

Page 9: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Insights and PerspectivesBali Aga: The “Original Balinese” and Their Gamelan Music

Page 10: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

In some villages, people follow indigenous religious faiths that haven’t been largely influenced by Hindusim or Buddhism

They are the Bali Aga, or “Original Balinese.”

Although Islam is not as influential in Bali as the rest of Indonesia, there are several Balinese villages that are mostly Muslim

Page 11: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Gamelan in Bali and BeyondWhen comparing Central Javanese court gamelan and Balinese gamelan gong kebyar, note that they both generally have:

Related instruments (bronze gongs, metallophones, drums, bamboo flutes, bowed chordophones)

A basis in cyclic musical forms

Related tuning systems

Multipart textures in which higher-pitched instruments play at faster rhythmic rates than lower-pitched instruments

Page 12: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Melodic organization in which a main, slow melody is embellished by faster-moving parts on other instruments

Close associations with forms of dance, dance-drama, and arts like shadow puppetry

A common historical foundation in Hindu religious cultures

Page 13: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

CD ex. #1-7 is a Central Javanese court gamelan piece

Evokes the royal pageantry and splendor of the court

CD ex. #2-12 is a Balinese example

This is an example of kebyar, meaning “to flare up.”

Fiery and explosive, it is from the early 20th c. when Balinese society was experiences tremendous social upheaval

Page 14: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

There are over two dozen distinct types of gamelan found on the tiny island of Bali

Some use instruments of iron, hardwood, bamboo, or other substances

Some use only voices

There are thousands of functioning gamelan clubs on the island

Page 15: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Insights and PerspectivesThe Paired Tuning of Female and Male Instruments

Page 16: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Gamelan ensembles feature metallophone instruments called ganga, which come in either one or two pairs in each octave range.

Each pair has a “female” and a “male,” in which the female instrument is tuned slightly lower than its male counterpart

The instruments may sound out-of-tune, but the difference of pitch is intentional.

The blending of the paired instruments creates an acoustical beating effect known as ombak, or “wave.”

The Balinese say that the presence of ombak breathes life into the gamelan sound.

Page 17: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

The Gamelan Beleganjur: An Introduction

Page 18: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Listen to Musical Guided Tour One to learn more about the instruments, gong cycle, melodic relationships, interlocking parts, and structure of the music.

The foundation is the gong cycle, which repeats throughout the piece.

The melodic layer has two components: a core melody and rapid-paced elaborations played upon higher-pitched instruments

The final layer is provided by drums and cymbals, which play in complex interlocking patterns.

Page 19: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Musical Guided Tour

The Gamelan BeleganjurFollow along with the transcript on pages 96-97

of the text as you listen to the Tour for this chapter.

Audio Musical Guided Tour

Page 20: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Kilitan Telu Interlocking Rhythms: A Musical Symbol of Communal Interdependence

Page 21: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

The interlocking texture of the percussion instruments, known as kilitan telu, is symbolic of broader Balinese cultural values like communal interdependence.

The individual rhythms employed in kilitan telu are seen as incomplete without the others: each one needs the other two rhythms.

When played together, the whole kilitan telu is greater than the sum of its individual parts.

Page 22: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Balinese Kecak and the Kilitan Telu

Kecak is a Balinese dance-drama with music provided by a gamelan of voices

The musical texture includes a rhythmic chorus and gamelan gong cycles, melodies, and textures imitated vocally.

Onomatopoeic syllables represent gamelan instruments (“sirr,” “pur,” “mong”)

Page 23: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Reenacts episodes from the Ramayana, a grand Hindu epic.

Results from a collaboration with Balinese musicians and a German painter in connection with a 1933 film, and is now largely marketed for touristic purposes

Listen to CD ex. #2-13 for an excerpt of a Kecak performance

Page 24: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Experiencing Balinese Interlocking, Kecak-Style

1 2 3 4 5 6 7 8 (1)

Pung X . . . X . . . (X)

Chak 1 X . X X . X X . (X)

Chak 2 . X . X X . X X (.)

Chak 3 . X X . X X . X (.)

Page 25: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

The Gamelan Beleganjur in Battles of Good versus Evil

Page 26: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Balinese individuals and communities have concern for perceived threats from malevolent spirit beings

Balinese lore claims that the gamelan beleganjur was created by the evil spirits of the Lower World, but was later transformed as a force for good by the Middle World Balinese.

The gamelan beleganjur is used as a source of mediation between the three worlds of the Balinese cosmos

In rituals like cremation processions, beleganjur music is used to intimidate malevolent spirits who travel the Middle World to do harm to humans.

Page 27: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Beleganjur Music in Hindu-Balinese Cremation Processions

Cremation is seen as an essential step for freeing the soul from the earthly realm.

The body or exhumed remains are ritually prepared and transported in an enormous cremation tower to the Temple of the Dead.

The procession is seen as perilous, and the beleganjur music is used to frighten away evil spirits who attempt to abduct the uncremated souls

Page 28: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

There is a general feeling of crowdedness that is common to virtually every Balinese ritual or social occasion.

Contributing factors are singing, music, and other sounds

The towers contain multiple tiers, and the largest towers are researched for wealthy and high-caste individuals.

It may take from six, 20, or even more men to carry the tower

Listen to CD ex. #2-14 for an excerpt of a 1995 field recording from a Balinese cremation process, which is discussed and summarized on pages 101-03 of the text.

Page 29: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Insights and PerspectivesCaste and Class in Bali

Page 30: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Hindu societies like India and Bali traditionally base social organization upon a caste system, or a hereditary social caste.

Caste might determine one’s educational and professional opportunities, and one is born into a caste.

The Balinese caste system contains four castes: the priestly caste, the warrior caste, the merchant caste, and the commoner caste.

About 90% belong to the commoner caste, and there are no “Untouchables.”

Caste also determines one’s religious life and obligations.

Page 31: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Walking Warriors:Worldly Battlegrounds of Beleganjur Music

Page 32: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Bali has been ravaged by wars throughout its history, and the great Balinese warrior is seen as a heroic figure.

Warfare was traditionally accompanied by music from the gamelan beleganjur, the “gamelan of walking warriors.”

Page 33: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Lomba Beleganjur: The Modern Beleganjur Contest

The traditional role of beleganjur as music of warfare is now obsolete, but the heroic imagery of the Balinese warrior lives on.

The modern beleganjur contest features numerous beleganjur groups from different districts, competing formally.

Traditionally featuring only male groups, women’s and children’s groups have emerged since the 1990s. The contest style is still identified with concepts of manhood and masculinity, however.

Page 34: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Kreasi Beleganjur: The Contest Musical Style

Kreasi beleganjur, or “new creation beleganjur, is a dramatic, neo-traditional beleganjur style.

Rather than being functional In purpose, it is flashy, fast, complex, and inventive.

Contests audiences may consist of thousands, and a good contest is full of excitement and energy.

CD ex. #2-15 is an example of a kreasi beleganjur contest performance.

Page 35: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Tradition and Innovation in Kreasi Beleganjur: An Elusive Balance

Value is placed on the following:

Compositional originality

Ensemble virtuosity

Emphasis on showmanship

Varied textures

Page 36: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Insights and PerspectivesGerak: The Choreographic Element in Kreasi Beleganjur

Page 37: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Gerak are the choreographed movements in kreasi beleganjur performances.

A highlight feature of this contest style, these movements of the musicians feature classic poses of battle and martial arts maneuvers.

Movements range from lighthearted, satirical commentary to solemn and reverential characterizations.

Page 38: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Achieving the Elusive Balance: The Kreasi Beleganjur Music of I Ketut Suandita

Composer I Ketut Suandita is an example of the ideal balance between traditionalism and creative innovation in kreasi beleganjur contest music.

By the age of 23, he had won the most prestigious beleganjur contest three years straight.

CD ex. #2-16 features his “Wira Ghorava Cakti ’95,” a prize-winning piece. It highlights several innovative features that are listed and summarized on pages 107-08 of the text.

What are some of its innovations?

Page 39: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Crossing International Borders

Page 40: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Gamelan music has fascinated many non-Indonesian composers.

Claude Debussy, John Cage, Lou Harrison, Colin MhPhee, Benjamin Britten, Philip Glass, Steve Reich, Michael Tenzer, Wayne Vitale, Evan Ziporyn, Barbara Benary, Janet Jackson (“China Love” and Beck (“Loser”)

Indonesian composers have also been influenced by international musics, and show this influence in popular music and art music.

Page 41: Chapter 7 Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

CD ex. #2-17 features “Country Beleganjur,” performed by virtuoso electric guitarist I Wayan Balawan. He leads the band Batuan Ethnic Fusion, one of the first Balinese bands to be signed by Sony BMG.

“B.A.Ph.PET,” CD ex. 2-18, is a piece composer by Michael Bakan for the student Balinese gamelan group at Florida State University. It is a post-traditional Balinese gamelan piece scored for traditional gamelan instruments, keyboard synthesizer, synthesized drums and percussion, electric bass, and scratch turntable soloist. It is discussed and summarized on pages 109-112 of the text.