Gamelan: The Traditional Sounds of Indonesia, Volume 1
ABC-CLIO, 2004 - 395 halaman
This book is a gentle introduction to the familiar music from Southeast Asia's largest countryboth as sound and cultural phenomenon. Gamelan: The Traditional Sounds of Indonesia provides an introduction to present-day Javanese, Balinese, Cirebonese, and Sundanese gamelan (gong chime orchestra) music through ethnic, social, cultural, and global perspectives. Deemphasizing potentially intimidating technical discussions of scales and models, this unique work focuses on the approaches to composing and playing gamelan music and how they relate to cultural and personal values. An introduction to Southeast Asian geography and history leads to a discussion of the different gamelan traditions in Bali and Java. A chapter on music and dance in West Java includes never-before published information on a variety of Sundanese music and dance genres. A case study of "jaipongan," and "dangdut," indigenous modern music and dance forms, explores their roots, roles, and authenticity.
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The Traditional Sounds of Indonesia Chapter 2 Music in Java and Bali
The Traditional Sounds of Indonesia Chapter 3 Gamelan Traditions in West Java
The Traditional Sounds of Indonesia Chapter 4 Identity Authenticity and Tradition in Sundanese Dance Music
The Traditional Sounds of Indonesia Chapter 5 Music and the Future
The Traditional Sounds of Indonesia Glossary
The Traditional Sounds of Indonesia Additional Resources
The Traditional Sounds of Indonesia Listening Guide
The Traditional Sounds of Indonesia Appendix Ensemble Instrumentation
The Traditional Sounds of Indonesia References Cited
The Traditional Sounds of Indonesia Index
The Traditional Sounds of Indonesia About the Author
accompaniment angklung aristocratic Asia bajidoran Balinese music balungan bamboo Bandung barang beleganjur bonang bronze called Cambodian Central Java Central Javanese gamelan Cirebon Cirebonese colotomic colotomic form cultural cycle dalang dancers dangdut dog-dog drum patterns drummer female Figure gamelan ensembles gamelan instruments gamelan salendro gamelan sekaten genres gondang sabangunan gong chime gong kebyar gong phrase gong stroke goong hanging gong Henry Spiller includes Indonesian instru interlocking irama Islamic jaipongan kempul kendhang kenong ketuk tilu keys kotekan kraton kulintang lagu melody men’s metallophone mincid modern movements music and dance musical processes musicians octave ostinato panerus Pangkur pasinden pelog pelog degung performance pillar pitches play player pola ibing rebab repertory rhythmic ronggeng saron simultaneous variation singer Sinyur social songs sorog sound Southeast Asian musical style Sundanese dance Sundanese gamelan Sundanese music tayuban tembang tembang Sunda Thai Toba Batak topeng tuning system wayang golek West Java wilet World Music
Halaman 4 - ... gong, or of similar patterns of body decoration and of classification has little to do with the environment. Fundamental social and cultural traits distinguish Southeast Asia as a whole from either of its vast neighbors — China and India.
Halaman 290 - The Garland Encyclopedia of World Music, Vol. 4: Southeast Asia. New York: Garland.
Halaman xx - Indonesian"). Most English speakers can pronounce Indonesian words passably well if they learn a few simple rules. Most of the consonants are pronounced more or less as they are in English, with the exception of 'c,' which is pronounced 'ch,' and 'g,' which is always hard, even when followed by an 'e
Halaman 25 - The primary notion with which we shall have to deal," he writes, "is the belief in the parallelism between Macrocosmos and Microcosmos, between the universe and the world of men. According to this belief humanity is constantly under the influence of forces emanating from the directions of the compass and from stars and planets. These forces may produce welfare and prosperity or work havoc, according to whether or not individuals and social groups, above all the state, succeed...
Halaman 81 - It is not . . . their existence as persons — their immediacy and individuality, or their special, never-to-be-repeated, impact upon the stream of historical events — which are culturally played up, symbolically emphasized: it is their social placement, their particular location within a persisting, indeed an eternal, metaphysical order (Geertz 1973:390). By finding an individual path in real time through a fixed performance structure — by bringing a sense of "now...