Indonesian Gamelan Music: Interlocking Rhythms, - PowerPoint Presentation

Slide1

Indonesian Gamelan Music: Interlocking Rhythms, Interlocking Worlds

Chapter 7

Introduction

This

chapter explores musical traditions of Indonesian

gamelan

music, with a particular focus on the

gamelan

beleganjur

, the Balinese “gamelan of walking warriors.”

(p. 90)

Gamelan

beleganjur

[PL 7-1]

The

term gamelan essentially means “ensemble” or “orchestra.”

Refers to a

diverse class of mainly percussion-dominated music ensembles found on

Bali

, Java, and several other Indonesian islands.

Related

types of ensembles also are found elsewhere in Southeast Asia, for example, in Malaysia and Cambodia.

Balinese Gamelan Music in Context: The Republic of Indonesia

Republic of Indonesia

Southeast Asia

17,000

islands (close to 6,000 inhabited)

Formerly

Dutch East Indies Company (colonized by Dutch)

National independence

: 1945 (full sovereignty, 1949)

Java

Jakarta (capital)

Surakarta and

Yogyarkarta

(Central Java – gamelan)

National unity

efforts

Unity in Diversity (slogan)

Bahasa Indonesia (language)

Cultural nationalism (including gamelan and related arts

)

Religion

Islam

principal religion of Indonesia (world’s largest and most populous majority-Islamic nation)

Hinduism

(Agama

Tirta

) principal religion of Bali

Varied Types of Gamelan Music

Central Javanese court

gamelan,

“

Ladrang

Pangkur

”

[PL 7-2, “

Tjatrik

”]

Sundanese gamelan of West Java

Gamelan

degung

[PL 7-3]

Gamelan

salendro

[PL 7-4]

Jaipongan

[PL 7-5]

Bali

Wayang

kulit

(music of the shadow-puppet theater) [PL 7-6]

Gamelan

selonding

(ancient gamelan of the

Bali Aga

, indigenous people of Bali) [PL 7-7]

Balinese and Javanese Gamelan: A Comparison

Comparison of the two best-known types of gamelan from Java and Bali, respectively:

Central Javanese court gamelan

(gamelan

kraton

)

Balinese gamelan gong

kebyar

Comparison in the text (pp. 93-97) is of two of the best-known compositions for these ensembles:

“

Ketawang

Puspawarna

” [PL 7-8

) – Central Javanese court gamelan

“

Taruna

Jaya” [PL 7-9

] – Balinese gamelan gong

kebyar

That comparative discussion is summarized on the next several slides.

General Similarities

Instruments

Gongs, metallophones

(

gangsa

in Bali)

,

drums, end-blown bamboo flutes, bowed chordophones

Cyclic

forms (gong cycles)

Related tuning systems, scales,

modes Slendro, pelog (OMI #21)Similar polyphony (higher=faster, lower=slower) Melodic layers: core melody, melodic elaborationHindu basis and related musical symbolism Associations with dance, dance-drama, shadow puppetry (wayang kulit), and other arts

General Differences (pp. 96-97)

Central Javanese

Court Gamelan

Balinese Gamelan Gong

Kebyar

Slow, majestic,

ethereal

Fast, hyper-virtuosic,

intense

Musically

s

ymbolic

of subtle, nuanced social interaction ideal

Musically symbolic of closely integrated, cooperative community ideal

Drumming subtle

and understated; one drummer playing multiple drums

Drumming fast

and prominent; two drummers playing one drum each in fast interlocking patterns

Complex multiple-melody textures; “loose” rhythmic

treatment

Emphasis

on intricate melodic interlocking (

kotekan

); precisely coordinated rhythmic treatment

Wide tuning across ensemble

Paired tuning between matched sets of instruments;

ombak

(I&P box, p. 97; OMI #21, #22)

“Ketawang Puspawarna” [PL 7-8]

Title:

“

Ketawang

” = a 16-beat gong cycle

“

Puspawarna

” = “flowers of many colors”

Gamelan

Paku

Alaman royal palace (kraton)More than 250 years oldMany different types of instruments with wide range of timbresRebab (two-string fiddle)Kendhang (drums)Bronze gongs, melodic sets of kettle-gongs, metallophonesWooden xylophone (gambang), plucked chordophones

Female vocalist, male chorus

Dense, multiple-melody texture, “loose” rhythmic treatment, slow tempo (one 16-beat gong cycle about 15 seconds, e.g., 0:07-0:22)

Classic recording from 1971 (included on Voyager Golden Record, 1977)

“Taruna Jaya” [PL 7-9]

Title: Means “Victorious Youth”

Classic early composition in the

kebyar

style (c. 1914); was composed to accompany a dance of the same title

Kebyar

Lit., to burst open (like a flower in bloom), to flare up (like a match)

Name captures the fiery, exciting spirit of the music (also sometimes translated as “lightning”)

Also the name of the exciting, unison opening sections of pieces in this style (e.g., 0:00-0:42)

Also name of the ensemble (gamelan gong

kebyar)At 0:42, second part of piece marked by entry of gong cycleThis gong cycle 32 beats (0:48-0:58), and essentially three times faster than its Javanese counterpart! (10 seconds as opposed to 15 seconds, e.g., 0:48-0:58Unfathomably rapid, complex melodic elaboration parts (instruments: gangsa)

Musical Guided Tour: “The Gamelan Beleganjur”

Access

at Online Learning Center (OLC):

www. mhhe.com/bakan3e

Text transcript,

pp. 99-100

This Tour introduces:

The instruments of the

ensemble (know gong

ageng

,

reyong)The music’s basic gong cycle (i.e., the recurring sequence of strokes on different gongs that serves as the music’s foundation), which is called gilak.The relationship between the music’s core melody and the elaboration of that melody in other instrumental parts The standard rhythms and interlocking rhythmic and melodic patterns

(

kotekan

) employed, especially the

kilitan

telu

patterns of the cymbal parts.

The stratified structure of the music, in which higher-pitched instruments play at faster rates than lower-pitched ones.

Balinese Kecak and the Kilitan

Telu

Ubiquitous set of interlocking rhythms in Balinese gamelan

Featured in cymbal (

cengceng

) interlocking in

beleganjur

Same set of rhythms (aka

cak

telu

) also used in Kecak dance-dramaSanghyang Dedari roots (trance dance of the celestial nymphs)Gamelan suaraRamayana dance-drama (Rama,

Sita

,

Rawana

) is context for

Kecak

Film:

Insel

der

Dämonen (Island of Demons

) (1933); Walter Spies

Transferred to melodic interlocking contexts, this same set of rhythms generates intricate melodic tapestries such as those heard in pieces like

“Puspanjali” [PL 7-10]Kecak (from Baraka film); audio example PL 7-11

Beleganjur in Balinese Ritual

Agama

Tirta

(Religion of Holy Water)

Cremation ceremony (

ngaben

)

Performed by members of the

banjar

Purpose: Release soul (

atma) to Upper World of Balinese cosmosProcession of atma to cremation grounds Multi-tiered cremation tower (wadah), followed by gamelan beleganjur, directed by lead drummer [PL 7-12]Gamelan beleganjur functions:Frighten and deflect evil spirits (bhutas

,

leyaks

)

Give courage to the

atma

Energize tower carriers

Regulate pace of

procession

At end, “ladder to Upper World” Function of the ensemble most important at crossroads. Why?

GLE: Beleganjur Music Performed during a Balinese Cremation Procession [PL 7-12]

0:00–0:35

Sound of crowd assembling, singing of sacred verses (

kidung

).

0:36–0:55

Entry of lead drummer (0:36), cueing

beleganjur

ensemble and signaling beginning of procession.

Full ensemble enters over

gilak

gong cycle at 0:41 (as tower carriers hoist tower onto their shoulders and the procession begins); unison rhythms in cymbals.Brief passage of kilitan telu cymbal interlocking cymbal at end of section (0:53–0:55).0:56–1:05Gong cycle only (no drums or cymbals), followed by interlocking drumming and return of cymbals.1:06–1:38

Long passage featuring

kilitan

telu

cymbal interlocking

.

1:39–1:49

Drum duet feature section

.1:50–endCymbals reenter, more kilitan

telu

interlocking; excerpt fades out after 2:05 cymbal crashes as gong cycle continues.

Kreasi Beleganjur

Modern, contest

style

R

ooted in “warrior ideal” of antiquity

“

Baris

” (warrior’s dance)

[PL 7-13]

Gerak

(choreography) reflects this ideal

Style originated in 1986Two of the pioneering composers: Sukarata [PL 7-14], AsnawaExhibitionistic rather than functional Innovations of kreasi style

Compositional originality

Ensemble virtuosity

Showmanship emphasis (including

gerak

)

Varied musical textures

GLE: I Ketut Suandita

, “

Wira

Ghorava

Cakti

’95,” Pt. 1 [PL 7-15]

0:00–0:06

Excerpt begins with impressive interlocking drumming, syncopated cymbal rhythms;

gilak

gong cycle provides foundation.0:07–0:18Brief passage featuring distinctive, eight-part interlocking cymbal texture (0:07–0:09).Reyong, drums, and other instruments come in from 0:10 on.0:19–0:27Unaccompanied reyong feature (gong cycle drops out); superb example of fast, intricate reyong interlocking.

0:28–1:14

Gong cycle returns; talents of full ensemble on display; good examples of more eight-part cymbal interlocking from 0:38

.

Continues on next slide

GLE: “Wira Ghorava

Cakti

’95,” Pt. 2

1:15–1:28

Transition to slow-

tempoed

section of the piece; contrasting musical character.

1:29–2:11

Slow section proper begins (over a dramatically slower

gilak

gong cycle).Unpredictable and dramatic changes in tempo, texture, and rhythm.2:12–endDrums and cymbals play at double the tempo of the other instruments, creating an effect of two levels of tempo (slow and fast) occurring at once.Excerpt fades out as performance continues (3:00).Video of same piece performed by 1992 Badung contest champions from Banjar Meranggi, Denpasar

Crossing International Borders

Western composers who have been influenced by/composed for gamelan

Janet Jackson, “China Love” [PL 7-16]

Claude Debussy, “

Pagodes

” [PL 7-17]

John Cage, “Daughters of the Lonesome Isle” (prepared piano) [PL 7-18]

Lou Harrison,

Suite for Violin with American Gamelan

(4

th

mvmt.) [PL 7-19]Christine Southworth, “Supercollider” (Gamelan Elektrika, Kronos Quartet [PL 7-20]Composers associated with Gamelan Sekar Jaya (Berkeley, CA) Michael Tenzer, “Unstable Center” [PL 7-21]Wayne Vitale, “Khayalan Tiga

” [PL 7-22]

Evan

Ziporyn

, “Tire Fire: IV” (Gamelan

Galak

Tika

) [PL 7-23]

Musik Kontemporer (Indonesia)

I

Nyoman

Windha, I Wayan Sadra, I Komang Astita, I Ketut Gede

Asnawa

Book:

Radical Traditions

, by Andrew Clay McGraw

“

Kekembangan

,” by I

Nyoman

Windha

; then collaboratively recreated with Evan

Ziporyn

[Pl 7-24]

I Wayan Balawan

and

Batuan

Ethnic Fusion, “Country

Beleganjur

” [PL 7-25]

Electric guitar virtuoso, including of

double-necked electric guitar

and

double-necked guitar synthesizer

In “Country

Beleganjur,” standard, single-necked guitarPiece combines elements of country, bluegrass, funk, jazz, rock, and standard beleganjur music – even a bit of Kecak See detailed discussion, pp. 112-13

GLE: Michael Bakan, “B.A.Ph.PET” (Charles Tremblay, turntable soloist; FSU Balinese Gamelan), Pt. 1 [PL 7-26]

PART

I

0:00–0:13

The four

reyong

kettle-gongs come in one after the other, together building a dissonant cluster of notes (chord).

Ostinato rhythm is a shortened variant of the basic

kilitan

telu

rhythmic pattern.0:14–0:53Large gong enters, followed by metallophones (gangsa).Instruments continue to enter, one by one, gradually filling out the texture with multiple layers and interlocking ostinato parts.0:54–1:25Synthesizer melody unfolds over a steady, slow-moving core melody in lower-register metallophones.Sequence of low gong strokes (supplemented by electric bass tones) combines elements of a Balinese-style gong cycle and the bass line of a Western-style chord progression

.

Continues on next

slide

GLE: “B.A.Ph.PET,” Pt. 2

PART II

1:26–1:41

All instruments drop out except for a single

reyong

(like at the beginning).

Synthesized drums enter (1:30).

Electric bass enters, establishing funk groove (1:33).

Scratch turntable sneaks in and builds with a crescendo (1:39–1:41).

1:42–3:37

Improvised scratch turntable solo—soloist: Charles Tremblay (

Note: new bass line begins at 2:16).Second, third, and fourth reyong kettle-gongs reenter, one after another, beginning at 2:29.All other gamelan instruments gradually reenter, building as before.3:38–endReturn of synthesizer tune over gamelan core melody, low gongs, and electric bass, plus all other instruments; dense, layered, polyphonic texture.Climax of piece arrives at 3:55, followed by fade-out ending.